Bower Studio Kalkaringi, 2020 Andrew MacKinnon
I acknowledge the Traditional Owners of the land on which I work, the Wurundjeri people, and pay my respects to Elders, past, present and emerging. Aboriginal and Torres Strait Islander people should be aware that this work may contain images or names of deceased persons in photographs, text or printed material.
Contents Introduction 7
45
Mad Bastards
76
Gurindji Culture Centre
187
About Me
8
We Don’t Need a Map
46
Gurrumul 77
Site Plan
Why Bower?
9
The Dreaming
50
Music 78
Concepts 190
Kalkaringi 10
Racism is Destroying the Australian Dream
51
Studio 83
History 12
The Australian Dream
52
Past Projects
16
The Project
18
189
History Pavilions
193
84
Culture Building
195
Utopia 54
Documentary 86
Prospect of Hills
197
Mystery Road
56
Design Esquisse
Pavilion 199
Engineers 19
Living Black
60
Precedent 112
Floor Plan
200
Steel Delivery
22
Black As
62
Precedent Themes
Perspective Section
201
24
Black Comedy
62
Consultation 136
Structure 202
COVID-19 25
You Can’t Ask That
64
Design 143
Details 204
Cultural Competency
Sweet Country
66
Initial Brief
Ten Canoes
68
Initial Thoughts
26
Research 33
4
Sand Talk
Transitioning Online
102 132
Connecting to Place
207
Context 146
Presentation Transcript
208
144
Dark Emu
34
Samson and Delilah
69
Landscaping 149
Karungkarni Gallery
A Handful of Sand
38
Australian Story
70
Site Analysis
154
Conclusion 212
Rights and Reclamations
40
The Nightingale
72
Concept Design
156
Kartiya are like Toyotas
42
Counting Our Victories
73
Design Development
176
Trapped in the Gap
44
Maralinga Tjarutja
74
Bower 2020
Contents
Reference List
211
215
Acknowledgements 224
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Introduction
About Me
Why Bower?
I am a student of architecture because I believe it is one of the few professions where you get to balance mathematics, science, art and culture. It is in a unique position where it is an essential service, but also an optional luxury or a force for change.
Growing up on Gumbaynggirr country I have always had a passion for the myths, stories and music of Aboriginal Australia. My major works for high school and my final Bachelor of Design studio were focus on Aboriginal health and representation in the mainstream media. Consulting Aboriginal people for my healthcare centre revealed to me both their kindness and the suffering which they have endured. I wish to pursue a career in architecture where I work closely with Aboriginal communities, both rural and in the city to try and build a better Australia.
I was born in Katoomba, and moved to the North Coast of NSW for primary school in Bangalow and high school in Bellingen. Both these towns had close relationships with the traditional owners, the Bundjalung and Gumbaynggirr, so from a young age I developed an understanding of Aboriginal Australia.
The opportunity to be invited onto country and collaborate with the Gurindji people in Kalkaringi provides the experience to further my cultural competency and understanding of the socio-political situation. In the past, I have sought advice from Aboriginal people for my assignments, but I have never had the opportunity to communicate on country. I am excited to participate in this studio in order to better understand the nuances of Aboriginal Australia’s place at the heart of modern Australia. This studio interests me more than any other because I am currently interested in Aboriginal politics, following Stan Grant and Adam Goodes’ documentary, Gurrumul’s documentary and reading Henry Reynolds books, but until I have experience working on country, I will not know if I want to pursue a career in this field.
I completed my architecture major in the Bachelor of Design at the University of Melbourne. Starting my Masters degree with Bower Studio has always been an ambition of mine and in the future I want to pursue subjects on sustainable urbanisation, affordable housing, urban acupuncture, and co-creation for social housing and public spaces. Katoomba, Gundungurra
Bronte, Eora
Bridge Walk for Reconciliation, 2000
Bangalow, Bundjalung
Boomerang Festival
Bellingen, Gumbaynggirr
Salt Water Fresh Water Festival Black + White TV, HSC Personal Interest Project
Melbourne, Wurundjeri
Invasion Day March Carlton Aboriginal Health Centre, Capstone Project Djab Wurrung Protest
As an avid traveller, I have always wanted to visit the Northern Territory and the experience of driving from Darwin to Kalkaringi to camp and work hard sounds challenging, but also incredibly rewarding. Being my first semester of masters, it will be a great way to make new friendships with fellow students and teaching staff.
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Introduction
9
Kalkaringi Kalkaringi is a remote Northern Territory town approximately 480km southwest of Katharine on the Buntine Highway. It is situated on the banks of the Victoria river. Daguragu is the neighbouring town 8km north west on the Wattie Creek. The combined population is approximately 800 people. Both communities are part of the Gurindji language group and are the custodians of 3250m2 of land. The Gurindji, Malngin, Bilinara, Mudburra and Ngarinyman speakers share a common language and culture, and come together under the collective term Ngumpit. The Warlpiri people to the south have shared a relationship with the Gurindji for generations. Today, Kalkaringi is a community that is continuing its traditional practices and trying to forge a new future, thanks to the opportunities created by those who fought for freedom and land rights. While the community suffers from issues such as alcohol abuse
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and domestic violence, there is a strong sense of identity, pride and future. The Gurindji Aboriginal Corporation, has been successful in being the voice of the community in applying for grants and proposing projects. Projects such as the multipurpose court, Walk-Off Track, engagement of Bower Studio and grants for a Community Hub, Social Club and Family Centre are all benefitting the community, socially and economically, and helping to voice cultural heritage. Karungkarni Art is another corporation that exists to preserve and promote Gurindji art, language, culture and history. It has approximately 50 artists and the eight directors are all local Aboriginal artists. Karungkarni Arts ‘produces, promotes and sells the artistic and cultural expressions of the Gurindji people, making a better life for the artists, their families and members of the wider community’.
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History
Wave Hill Walk-Off Route
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BOTTOM CAMP KALKARINGI
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VICTORIA RIVER CAMP
WAVE HILL PASTORAL STATION
Y HWA
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JINARNI GORDY CREEK WATERHOLE
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-OF
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1KM 1:40000 A3
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WATTIE CREE K
They first encountered Europeans in the 1850’s when explorers first rode into the centre of the Northern Territory. The land was considered suitable for cattle and Buchanan started a pastoral operation in the 1880s and in 1914, Lord Vestey acquired the land. After 80 years of working for the English cattle farmers, Vincent Lingiari staged a walk-off protest that would last for 9 years. Lingiari and his people demanded land rights and fair pay. In 1967 referendum Gough Whitlam soon passed the Aboriginal Land Rights Act. In 1975, Whitlam flew to Kalkaringi where he famously returned a portion of the Vestey’s land to the Gurindji people with the famous sand pour. The Wave Hill Walk-Off became the catalyst for the first legislation in the Northern Territory that allowed Aboriginal people to claim native title through the Aboriginal Land Rights Act 1976. The Walk-Off is celebrated to this day as the Freedom Day festival and is a vital part of Australia’s history. The festival is a three day festival that remembers the Walk-Off, but also celebrates traditional and contemporary Gurindji life. The activities include the Walk-Off march, art, music, dance and sport. In 2016, the Festival celebrated the 50th anniversary of the Walk-Off.
WAY
DAGURAGU FIRST CAMP AND HANDOVER SITES
The Gurindji people have lived on this land for thousands of years, and as a result have a very close connection to the country. Their stories and knowledge of the plants, animals, weather patterns and stars has been passed down over generations and is known as Puwarraja – the foundation of life and society.
F RO
UTE
JINPARRAK OLD WAVE HILL HOMESTEAD
Walk-Off Timeline 60 000 Years Gurindji Culture
1854 Augustus Gregory
1879 Alexander Forrest
The Gurindji have First European Second European been here since the explorer in Gurindji explorer Ancestral Beings country created the land
1883 Nathaniel Buchanan
1884 Cattle
Buchanan arrives Northern Territory with 1000 cattle colonial government granted almost
Australia declared to be an empty land
1788 1901 The First Fleet Federation arrives at Botany Bay
1924 Wave Hill Station
The original Wave Hill Station is washed away in a flood. The new station at Jinparrak is established
1966 The Walk-Off
Vincent Lingiari starts the Wave Hill Walk-Off, leading 200 + Gurindji people
1967 Wattie Creek
Community established at Wattie Creek, Daguragu, becoming the heart of the community for the 9 year strike
1910 Stolen Generations
1937 Assimilation
1938 26 January
The White Australia Policy of ‘Assimila- Is declared a day Policy tion adopted of mourning for Aboriginal people
*Please note that the Gurindji people have lived in the Victoria River region for thousands of years. This timeline only follows the events leading to and following the Wave Hill Walk-Off.
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Wave Hill Station bought by Lord Vestey
3,000 square Nathaniel Buchanan
1788 Frontier Wars
1770 Terra Nullius
1914 Lord Vestey
1948 Citizenship
Aboriginal people given ‘Australian Citizenship’
1967 Petition to the Governor General
1972 1975 1976 1976 2007 2016 2018 Gough Whitlam Handover Aboriginal Land Recognition Heritage Listed 50th Future Projects Whitlam flies to Da- Rights Act Lingiari is appointed Walk-Off Track list- Anniversary of Gurindji Aboriginal elected Member of the ed on the Australian Corporation has Canberra beginning guragu and returns 50 per cent of the Freedom been successful in to change. Yolngu some of the land to Northern Territory Order of Australia National Heritage Day Festival the Gurindji people land returned to (AM) List getting funding for bark petition and
Written by Gurindji and Frank Hardy with symbolic sand First Peoples asking for land back other nations beginpour ning to protest
Gurindji Corporation the Multipurpose and Bower Studio court, Community build Walk-Off Centre, Social Club Pavilions and Family Centre
1970 Road to Reconciliation and Treaty
1962 Right to Vote
1965 1967 Freedom Rides Referendum
to include Aboriginal people in Census
1975 1988 1992 2000 2007 Racial Barunga Mabo Case The Walk for Close the Gap High Court recog- Reconciliation campaign Discrimination Statement Self Determination. nises native title in 250,000 people, Act the landmark Mabo Racial discrimination End of White Ausin certain contexts tralia Policy. Hope for treaty but path unlawful to reconciliation chosen
case. Keating Redfern Speech
Indigenous and non-Indigenous, walked across the Sydney Harbour Bridge
2007 The Northern Territory Intervention
2008 National Apology
An official apology to Indigenous Peoples by Rudd Government
“Wave Hill Aboriginal people bin called Gurindji. This is our country. All this bin Gurindji country. We bin here long time before them Vestey mob”
“Vincent Lingiari, I solemnly hand to you these deeds as proof, in Australian law, that these lands belong to the Gurindji people and I put into your hands part of the earth itself as a sign that this land will be the possession of you and your children forever”
Vincent Lingiari
Gough Whitlam Bower 2020
Introduction
2010 National Congress of Australia’s First Peoples
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Past Projects The Walk Off Pavilions
Karungkarni Arts Extension & Big Shady
The Wave Hill Walk-Off Pavilions were built in 2016 when Bower Studio first visited Kalkaringi. The Pavilions aimed to celebrate and commemorate the 1966 strike led by Vincent Lingiari. The three pavilions were to be placed along the track that was taken, with smaller interventions acting as guides. The materiality was inspired by the rusted steel that remains at the site of the original cattle station. The A frame shape is reminiscent of the structures that lay ruined in the ground. After consultation with the Gurindji people, perforated metal was the material chosen for cladding the pavilions. It creates a dappled light that changes throughout the day, and is also durable and able to be repaired by the community.
A lasting relationship is an important aspect of collaboration with Aboriginal communities. The aims of Bower 2018 was to further the relationship being established with the Gurindji, Mudpurra and Warlpiri people. The first project was to extend the Karungkarni Arts Centre to increase capacity, reduce heat and create a stronger connection to the surrounding landscape. The second project was to build a bough shed (Big Shady) outside the store, with seating, shade and tables.
The first bough shelter was located at Jinbarak (the Wave Hill Station) where Vincent Lingiari started the walk-off. The second pavilion was constructed at Junardi (Gordy Creek) where the strikers and families collected water in order to continue their journey to Wattie Creek. The intention was to construct the third pavilion at the location of the strike, however relationships between the Daguragu and Kalkaringi communities resulted in the pavilion being located in the arts precinct at Kalkaringi next to the Karungkarni Arts Centre.
Bower Studio’s 2016 and 2018 projects were a success, resulting in another invitation to collaborate with Gurindji Corp. The 2018 Big Shady outside the shop was a popular addition to the community and they commissioned two more to be built in the park near the basketball court and playground.
More Big Shady
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Reflection It is clear to see that building a relationship with Kalkaringi over the last four years, through consultation, design and build has led to trust, friendship and the overall success of the projects that are pragmatic and beautiful. 5.
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Introduction
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The Project
Engineers
Bower Studio was asked to return to Kalkaringi in 2020 to help transform an old clinic into a community centre. The existing buildings structure and exterior will remain the same, with a new interior fit out, shade pavilions and landscaping. The centre will become the home of Gurindji Aboriginal Corporation (GAC), health and educational facilities and office space for Karungkarni Arts. Consultation with GAC, Phil Smith, Penny Smith and the community helped to inform concept design which started in 2019.
We met with Arup engineers Jorja Zanotto and Rachel Ngu to go through the details of the shade pavilions. They discussed how they rationalised David’s concept model into a feasible structure. The key considerations for the structure were wind loads, deflection, overturning and cost. Steel was chosen for the structure because of its durability, termite resistance, and ease of construction and serviceability on site. The structure has been designed to deal with wind loads, live loads and dead loads. The original plan before the COVID-19 lockdown was to travel to Kalkaringi and construct the shade pavilions in ten days. As a result, prefabricated concrete pad footings were chosen over in situ concrete because there would not have been enough time for the concrete to cure. The footings were optimised to stop the pavilion overturning in strong winds.
UPLIFT
SHEAR
WIND LOADS
DEAD LOADS + LIVE LOADS
400
OVERTURNING MOMENT
300
1150
This booklet is a representation of a semester’s worth of research and design, exploring and reflection on readings, conversations and ideas.
700
850
Bower Studio has designed steel shade pavilions, with the assistance of engineers Arup, to enhance the exterior of the proposed culture centre. The pavilions were to be constructed alongside a Gurindji work team in April of 2020, with the design of in situ furniture and an arid garden to follow. The theoretical and design work will involve designing either a culture centre, social club or family centre, all of which are part of the overall Kalkaringi masterplan to increase community amenities and tourism.
LATERAL
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Introduction
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LATERAL
UPLIFT
WIND LOADS
SHEAR
Footings, Columns and Beams
OVERTURNING MOMENT
LATERAL
300
1150
700
400
850
There is something truly beautiful about a simple, back to basics design. No gimmicks, no frills, just the essentials. The structure and the shelter, create the essence of a space, providing refuge from the sun and rain.
Application
UPLIFT
1500
SHEAR
2500m
m
WIND LOADS
2500m
m
DEAD LOADS + LIVE LOADS
3673mm
400
OVERTURNING MOMENT
300
1150
The perforated metal was chosen for its lighter weight, and its ability to create dynamic shadows that, like trees, move throughout the day and cast different shades of grey. David’s original model had a corrugated horizontal canopy, but this was excluded from the final design to reduce loads and eliminate the chance of uplift from the strong winds.
700
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The central columns carry more load than the outer columns, so to prevent deflection, two layers of EA have been used. A 150x12EA is to be welded to an inner 125x12EA, and these will sit on a larger pad footing of 1500x1250x700. The outer columns are just the single 150x12EA or 150x10EA, depending on the spacing from the central column, on a pad footing of 1250x1000x700. The footings sit 300mm below the surface with 400mm above, reducing the amount of digging needed. The columns were prefabricated with 400x300mm base plates so that they could easily be bolted to the footings on site. Horizontal beams connect the columns in a portal frame like manner, distributing the loads directly to the columns, allowing for freedom when attaching the perforated metal claddings. Perforated Metal
Reflection
DEAD LOADS + LIVE LOADS
2600m
m
1500
2000m
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3200m
m
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Introduction
Consideration of the engineering of a structure is key for its stability, durability and buildability. Joints that can be easily connected on a remote site with simple construction techniques are perfect. The speed of construction is an important factor. Should it be prefabricated and quickly assembled or should the process be slow and involve community participation? It is good to consider whether exposing structure can help inform the building’s form and keep it as simple and affordable as possible. Building to allow for standard sizes is good practice to reduce the waste. Using potential offcuts for furniture and decoration is a good way to utilise waste, and can enhance a project’s use and connection to the land. 21
Steel Delivery
Steel Delivery
Our steel was delivered on Monday 16th March. It was meant to come on a truck with a mini crane, however it did not. James had to unload the steel manually with the delivery man. Prior to this class, I had completed my White Card with Sarah, Damien and Alexia, and bought all of my PPE for OHS. After our studio, Leif, Shalini, Annabelle and I began the four hour task of cutting the steel and loading it into the shipping container. I had never used an angle grinder or cut off saw before. I was apprehensive, however once starting, I became comfortable. We cut the larger EA steel to 5.8m lengths, the size of the shipping container. The smaller EA’s were cut at lengths of 1.25m, to be used for our in situ seating and landscaping design.
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Introduction
23
Initial Thoughts
COVID-19
For the first time during my university experience, I am excited to be starting a semester. Our first studio left me very excited. I was apprehensive at first, due to taking myself out of my comfort zone, as well as the time and cost commitments. However, I am now very glad as this is a once in a lifetime opportunity. Since the beginning of my undergraduate degree, I knew I would apply for Bower. My mum was an English language teacher and studied social anthropology at university under Canadian anthropologist David McKnight. I was raised, engrossed in the politics of Indigenous Peoples and was introduced to Henry Reynolds, John Pilger, Bruce Pascoe and Stan Grant.
Travelling Studio with no travel or studio After three weeks of face to face classes, university has been moves online to help prevent the spread of COVID-19. I did not expect coronavirus to spread this quickly or widespread. It didn’t cross my mind that university would be affected when I returned from my European holiday in January and enrolled in class. Absolutely gutted to have our travels to Kalkaringi postponed, but it is also our responsibility to avoid transferring the virus to remote communities.
As an avid traveller, I have always been interested in cultures that differ from Anglo Saxon English. The opportunity to travel to the Northern Territory will be new to me. I cannot wait.
I hope that the whole semester is cancelled and we can continue in semester two, because an overlap of studios could be quite difficult.
My main reason for doing this course is to find my place as a non Indigenous man. What can I do to help? Where can architecture help? How do we avoid past mistakes? I want to challenge myself, discover my country, be welcomed by traditional owners and make lasting relationships.
The uncertainty of the ever changing situation makes it very hard to focus on the work at hand. Trying to balance and differentiate between leisure, work, university, and house work is incredibly hard, especially in a small flat where you cannot prescribe certain areas for particular activities. Where procrastination used to take the form of food and music, the studying of statistics and graphs has become the norm.
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Introduction
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Cultural Competency The history of Australia and the treatment of the Traditional Owners is brutal and dark. It often feels like the issues of the past have been swept under the rug and forgotten because it’s too hard to confront our wrongs or find a solution. While historical policies were malicious and deliberately evil, current mistakes in Aboriginal affairs tend to be based on ignorance and a lack of cultural competency. In order to successfully collaborate and consult with Aboriginal people, an understanding of their culture, customs and history is essential. Aboriginal society is made up of numerous language groups whose identity and culture is constantly evolving. Torres Strait Islanders are a separate group of people with their own unique culture. There were once over 200 language groups, but since the invasion, that number has been reduced to 120. Many Aboriginal people can speak multiple languages and there are many who live in other communities, especially in urban settings. It is important to understand that there are many Aboriginal people who do not practice traditional culture or who do not choose to identify as Aboriginal. The 26th of January, Australia Day, is a day of mourning for many Aboriginal Australians, who consider it to be Invasion or Survival Day. Every year, the Change the Date movement gets larger as more non-Indigenous Australians begin to understand the country’s history. National Reconciliation Week and NAIDOC Week are two week where Aboriginal Culture is celebrated. The 26
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weeks are an opportunity for events and debates and days such as National Sorry Day provide a moment to reflect on the atrocities of past governments. Close the Gap Day and the UN’s International Day of Indigenous Peoples are two other significant days for Aboriginal People. Smaller festivals such as the Freedom Day Festival in Kalkaringi, the Garma Festival and the Salt Water Fresh Water Festival are also very important for celebrating culture and telling the stories. 11.
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Understanding Kinship Kinship Kinship underpins all aspects of Aboriginal life. It has existed for thousands of years to help create an understanding of ones place in the greater community and within the country. Kinship fosters relationships between people, with respect and reciprocity at the heart of exchanges and governs who can be married, who is related and who supports who. Welcome to Country A Welcome to Country is performed by an Aboriginal person from that country. A Welcome to Country offers a visitor safe passage and protection during their journey. While on country, the visitor must respect the protocols and rules of the host nation. Acknowledgement of Country An Acknowledgement of Country can be performed by people who are not from that country, but who have been Welcomed to Country. It is a way of showing respect and understanding that you are working and living on land that has traditional owners. Nations There are over 500 nations across Australia that cover distinct areas, bordered by landmarks such as rivers, hills and desert. Each nation has specific stories and language. Nations often shared land, language and kinship ties with their neighbours, creating strong relationships and respect.
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Clans Clan groups are smaller divisions within a nation. They share the same culture as the nation but may speak a different dialect of the language. Language There were once over 250 languages with around 600 dialects. Aboriginal people had to know multiple languages in order to trade with neighbouring nations. Family Groups Within clan groups are family groups. Patrilineal nations pass moiety, totems and skin names through the men. Similarly, matrilineal nations will take their line of descent from their mother. The women will be the key people in a matrilineal nation, while the men would be in a patrilineal nation. Moiety Moiety is the first level of kinship. Moiety divides Aboriginal people and the landscape into two halves. Moiety inheritance is determined by the nations line of descent. If you have a different moiety you can marry. If your moiety is the same, you are considered siblings and must support each other, with reciprocity underpinning this relationship. The moiety determines what part of the landscape you are responsible for. Each language group has its own words for moiety, but the concept remains the same.
Bower 2020
Totems Totems are the second level of kinship. Each person inherits their totems from birth. The totems that represent nation, clan and family are inherited from birth, while an individual totem may be allocated when the persons personality is discovered. A totem links a person to the universe and country and creates responsibility and accountability. There is no ownership of a totem, just custodianship. Totems are divided by moiety, in order to make sure that everyone has a responsibly to preserve and look after different parts of the environment. People are required to look after their totem and teach about it. Skin Names Skin names identify bloodlines, relationships and linages in a nation. Husbands and wives and their children do not share the same skin names. Names are given in a sequential manner. Skin name cycles are based on the number 8 and can have up to 32 sets of names. A prefix or suffix indicated gender. People with the same skin name are considered siblings. This system creates strong extended family bonds, where children have many siblings, parents and grandparents. Traditional Affiliations Many Aboriginal nations were affiliated through language, trade, religion and culture. There was also mutual custodianship of shared lands.
Introduction
Lines of Communication In order to trade, share resources, conduct ceremony and interact with affiliated nations, Aboriginal people travelled along certain routes. You needed to be invited and welcomed to country to enter another nations area. People of another nation with shared moiety and totems were immediately considered family, creating powerful lines of communication between nations. Disconnected Lines Colonisation, the Frontier Wars and the Stolen Generations brought devastation to kinship across Australia. People were displaced, clans were massacred, travel was restricted and individuals were stolen from their families and moved to a completely different environment where they were brought up to follow European family structures. Reserves, missions, stations and foster homes forced Aboriginal people off country and information about kinship was lost. Consultation An understanding of kinship is necessary for consultation with Aboriginal communities. Knowing whether a nation is patrilineal or matrilineal, knowing who is related and who is responsible for what is incredibly important. The specific roles of individuals and their strong family ties means that approaching the right person for information and allowing time for a response is essential. Uninformed consultation may risk breaking the community hierarchy and family ties. 29
Working with Aboriginal People Core Cultural Values • • • • • • • • •
Family Shared responsibility Acceptance Equality Belonging- to people, land and rights Ownership-shared Respect- for positions and responsibilities Time Orientation- Past and present, rarely future People Orientation- human relationships are important. Material gains are not.
Country The land and the people are connected in Aboriginal culture. There isn’t human ownership of the land, with the land being at the centre of spirituality. Family Extended families are important and Aunties and Uncles often share the task of raising children. The death of extended family members carries a lot of weight and mourning is a very important process. The name and image of a deceased person is no longer used after their death.
There is currently limited legislation in place to protect Aboriginal people, however in the past, most legislation was designed to assimilate or eradicate the ‘Aboriginal Problem’. The result of past mistreatment is generational trauma, disadvantage and epigenetic trauma. While many Aboriginal people are rising out of a low socio economic situation, many still live below the poverty line. Past legislation also caused mass displacement and a severe loss in language, culture and traditional ways of life. It is important to engage with communities with respect, honesty and acknowledgement. A relationship is built over time and an understanding of the hierarchy within communities is important. When meeting with Elders and community, it is important to consider avoidance strategies, visibility and access to exits. Tense and rigid situations do not work, a welcoming environment is necessary, with views of the exit and a casual seating arrangement. It can be offensive to maintain eye contact and to interrupt someone who is speaking. Consultation and collaboration with a community is necessary throughout any process. It is important that all decisions are understood by the community and no empty promises are made. It is important to understand that questions may need long lengths of time to be answered.
Reflection Despite my exposure to Gumbaynggirr throughout my schooling and a continued interest in Aboriginal politics as an adult, I still feel ignorant and overwhelmed by the complexity of the topic. The school syllabus neglected to mention any significant history except for a brief mention of the Stolen Generations through a viewing of Rabbit Proof Fence. My Indonesian heritage didn’t go unnoticed in a rural country school and I have an understanding of how overt and subtle racism can affect a person. As I became the token Asian amongst my peers, the racial prejudice against me disappeared and I became very aware of how the Aboriginal kids were discriminated against, with passing comments and not so subtle jokes, despite their friendships. These experiences have become a key reason why I have been interested in understanding Australia’s real history and traditional owners. My past experiences consulting with Aboriginal people have been very successful and heart-warming. I believe that the ideas of cultural competency could even be applied to interactions with everyone. Be patient, kind, understanding and well mannered. Not everyone is the same and it is always important to consider how someone might feel in a social situation that they are not used to. The following section of this booklet will explore my research undertaken in order to increase my cultural competency and inform the design of a culturally appropriate building. 12.
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Bower 2020
Introduction
Research
Dark Emu Bruce Pascoe’s Dark Emu is a call to refocus our view of history from the racially biased Eurocentric one to a more objective one that accepts Indigenous cultures had complexity that often rivalled the west. His book explores Aboriginal society before invasion, looks to the impact of settlement and suggests that to make the most of the continent we have, we must adopt Indigenous knowledge into the current model. I will summarise my key lessons from the book. Agriculture The book is supported by various journal and diary excerpts from early explorers and settlers. It is interesting to note how each one notices the agriculture and architecture of the Indigenous communities, but ultimately decides to ignore it and plan out their own farm, plantation, settlement or homestead. The language barrier was also an issue, and often led to misunderstandings that ultimately cost the local their homes or lives. An example is the Wati Wati phrase ‘karmer ungga’, meaning ‘we will spear you’ being misinterpreted as an invitation to settle on the land. Before settlement, root vegetables and native rice and wheat were all grown, harvested and stored in a process that would normally be described as agriculture. However, due to terra nullius, the British and early settlers could not admit that agriculture was already taking place in Australia. The Aboriginal grain belt was much greater than our current areas. 34
Aquaculture
A complex cycle of root vegetable harvesting to disturbed the soil to incorporate ash from back burning and allow better water absorption meant that the Australian soil was very fertile and soft. Poorer soil was used for forest and grassland, while good soil grew food. Seeds were traded for other goods or as gifts of reciprocity. Early explorers saw yam gardens in Sydney and fields of murnong in the Grampians. There is even evidence of grindstones from 30 000 years ago as evidence of baking, 15 000 years before Egyptians. These native grains, yams, rices and fruits are better suited to the Australian climate and soils than their European equivalents. They need less water and are more resilient to disease, meaning they could potentially be more productive and profitable.
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14. Warlpiri single women camp Bower 2020
Research
Aboriginal people had a complex aquaculture system as well, that was largely overlooked by early Europeans. There were dykes in the Murray river with nets with reed floats and clay weights. Complex networks of stone fishing traps for fish and eels were found at various sites, including Lake Condah. Estuarine and tidal traps were also found in the Mallacoota area. These systems provided enough food for the communities and also took into account the remaining stocks for other tribes down stream, as well as remaining fish for reproduction.
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Architecture It is often considered that Aboriginal Australians did not have any architecture or villages, however the settlers’ journals reveal that not only was their architecture, but a variety of it! The common names given to Aboriginal buildings are gunyah, goondie and wurley. Thomas Mitchell recorded villages of up to 1000 people with huts erected, some large enough to hold 40 people. In Queensland, large timber structures clad in paperback and palm leaves were found. The Gulf of Carpentaria had large domed grass covered shelters and Torres Strait Islanders erected curved bamboo structures that were self supported and clad by one material. Arnhem land had two building typologies for the two seasons. The wet season had large thatched waterproof huts and the dry season had lighter airy huts. Some communities had raised sleeping platforms with sealed doorways to protect from mosquitoes and crocodiles. Examples of woven cladding were seen in the Kimberley and large log structures in the south of Western Australia. In Tasmania, Victoria and the alps stone shelters with mud mortar and clay daubing were constructed as they provide good insulation from the cold. Some were even found with central chimneys, ovens and internal doors. Some Southeast mainlanders and Tasmanians used whale bone as a structure due to the natural curve. In the centre of the continent, spinifex with a clay render was often used, and the shelter was often dug into the ground to gain 36
cooling from the soil. There is also evidence of buildings serving as grain stores, dog shelters and ceremony spaces. Possum fur, other animal pelt or dried leaves were used for interior furnishings. Common amongst all these buildings are ideas of prospect and refuge, views into the community, hierarchy, and an articulation of indoor and outdoor spaces.
Knowledge Aboriginal Australia was a complex mosaic of neighbouring countries with different languages, but similar law, morals and ideals. Ancestral law governed the society and this was maintained for 60 000 years, with minimal conflict or war. The land was held in common, with the humans as temporal custodians. The idea of joint ownership, belonging to land and sharing it with nature was important to the longevity of practices such as hunting, burning, yam and grain production and fishing. The stars and the heavens were important and every part of the universe had a role in the stories being told. Settlement led to the deterioration of soil and desecration of grass land by hoofed animals such as sheep and cattle. Superphosphates and other pesticides have further damaged soil. We become more dependent on fertilisers, pesticides and continue to deplete the remaining water sources through unsustainable irrigation strategies. While we currently abuse the land to continue our economic gain, it is important to consider alternatives. As Donald Horne said, we are “spending borrowed capital”
16. Gunditjmara Walls
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These ideas raise questions such as, can agriculture use more native plants in the future? How will Aboriginal intellectual property be acknowledged? After 60 000 years of agriculture, do they have claim to the seeds they cultivated? Research
“Our own intellectual history is not an absolute standard by which to judge others. The worst imperialisms are those of preconception.” Bill Stanner
Application It is incredible to think the British declared Australia terra nullius when there was so much evidence of inhabitance. The journal and diary entries exemplified in Pascoe’s book point to clear regional differences in Aboriginal architecture. The huts and stores, while simple, responded to their climates perfectly. Ideas of prospect and refuge are clearly at play, with openings overlooking the community fire or views, and walls protecting from prevailing winds and danger. Maximum shade from a minimum amount of material was also something common in the designs. I particularly liked the way the desert people would dig their shelters into the ground to keep the interiors cool using the thermal mass of the soil.
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A Handful of Sand A Handful of Sand: The Gurindji Struggle, After the Walk off
communities. They became aware of the differing lifestyles across the country, and decided that the Gurindji people deserved more. After an insulting pay rise to 25% of the white workers and the construction of uncomfortable tin huts, enough was enough.
Charlie Ward’s A Handful of Sand covers the Gurindji story from occupation to the repercussions of the famous Wave Hill WalkOff. It is an enjoyable read, packed full of information, that helps you to understand the continuity of events and how each played into the hands of the next. Aim of the book was “To understand the fate of the Walk-off leaders’ vision... that the stories of the European-Australians who inspired, supported, disappointed and deceived the elders must be told as well”. After first finding Gurindji country in 1879, the Buchanans, Vesteys and a myriad of kartiya took control of the land of the Gurindji and neighbouring tribes. As the Europeans set up the Wave Hill cattle station, the locals became second class citizens in a ‘rawhide feudalism’ society that was essentially slavery. Women were raped, men became ‘head boys’ at stock camps and the traditional way of life became secondary to the agendas of the new overlords. In 1924, the last Gurindji massacre occurred, but the poor work and living situation continued for another forty years. The cattle and feral donkeys destroyed the landscape and depleted water sources and original food stocks. The Gurindji people were forced to depend on the ‘care’ from the Vestey’s. It wasn’t until Vincent Lingiari, a respected man amongst both white and black communities, that change was in the air. Lingiari and his countryman Lupngiari had the opportunity to travel to the city and other 38
were being closed and it was never able to become profitable and relied on government support. The dream of becoming a financially and socially independent community is still a work in progress. The shift from pre walk-off to post walk-off and the changes that occurred had lasting repercussions on the Gurindji people. The shift from a cashless community run on self motivation and hard work to one under Whitlam’s self determination policy, receiving government money and kartiya workers complicated relations and lead to a loss of control of the community. The future of the community was also challenged by issues of education, work and leadership. As a remote community, how could it become possible to retain youth, foster leadership, increase work opportunities and create a local economy?
After nearly 90 years of oppression, on 23 August, 1966, Vincent Lingiari led 200 Gurindji, Muburra and Warlpiri people off Wave Hill Station in a protest for equal pay and land rights that would last nine years. There were kartiya who aided them, and many government officials who tried to undermine them, including the Country party who in 1966 declined the Vestey’s offer to give back a portion of the land. The Gurindji found it best not to involve themselves in kartiya disputes, fearing an attack or a backfire, and continued their strike. They found friends in the likes of welfare office Bill Jeffrey and journalist Frank Hardy. In 1975, after 9 years, Gough Whitlam returned the land to the Gurindji people, with the symbolic sand pour. Vincent Lingiari won the Order of Australia for his role. Lingiari envisioned three outcomes from their strike, land rights, a Gurindji run cattle station and an independent Gurindji community. While each was achieved in part, they were all never fully realised. Land rights successfully obtained, with parts of the land being handed back, however lots of the land remained under government control. Muramulla company became the first Gurindji run cattle station and was operating for fifteen years. Unfortunately it was ushered into existence during a time where small scale cattle farms
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Rights and Reclamations Future Indigeneity Carroll Go-Sam In the past, Indigeneity was a fringe experience being used for cultural tourism, such as in the Jean Marie Tjibaou Centre in New Caledonia. It has always been easy to market culture, but very hard to confront the dark history of colonial countries. The articles in Rights and Reclamation, in the magazine Architecture Australia, explores examples of new ways Indigenous design is being considered in the world of Architecture. A commonality between the projects is that they are all small scale and directly involve Indigenous people. The idea of objects in space is also challenged, with many designs focusing on experience. Kieran Wong of the Fulcrum Agency believes that the key to avoid branding and tourism is considering future aspirations, not only current programs, when creating new indigenous spaces. Indigenous futurity and architecture: rewriting the urban narrative Wanda Dalla Costa believes that bridging the gap between under representation and our diverse urban population can be achieved through collaboration with indigenous elders, students and artists. She defined Indigenous Architecture as a response to the local belief systems, geography, place and vernacular, carrying meaning, form and spatial organisation important to indigenous peoples. It involves an understanding of social, cultural, physical and spiritual 40
wellbeing, environment, economics, culture and preservation. For Native Americans, the ideas of stewardship emphasise the need for sustainable low footprint designs. Indigenous design can be innovative and aspiration, as it breaks down colonial architecture conventions. Costa encourages the Indigenous research paradigm: epistemology(knowledge), methodology(process), ontology(being) and axiology(values). New Zealand academic Hirini Matunga defines Indigenous Architecture with a seven part metric1. Clarity about it’s genealogy 2. Link to an indigenous archetype 3. Engaged response to a defined indigenous need past present future 4. Structural articulation of the cultural and social values of the particular community 5. Design response to specific place based narrative 6. Structural form, informed by knowledge, world views and cosmology 7. Inherent, culturally configured or ascribed indigenous meaning.
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so too will the inclusion of Indigenous knowledge into architecture and urban spaces. By providing urban spaces, such as the MPavilions, you create a platform for knowledge to be spread.
The American Indian Centre of Chicago and the Settler Colonial City Project installed plaques around the city highlighting the reality of colonial violence. The atrocities of the past cannot be undone, but the stories of how the city of Chicago came to be can be retold to change the perception of the past.
Blak box: a room for sound and a space for story telling Kevin O’Brien designed a mobile pavilion for the purpose of sound, music and storytelling. O’Brien highlights three key components when designing with Indigenous communities.
Unceded: land and design sovereignty
Country
David Fortin explains that artificial colonial borders are now being challenged by increased knowledge of Indigenous peoples. Canada’s Unceded, at the Venice Biennial 2018, brought together Indigenous Architects to celebrate their culture and show that it is still alive. The pavilion drew positive comments from Europeans and drew attention to that fact that not many people know that many native American communities are thriving. The knowledge that traditional cultures can thrive amongst modern society is integral to successfully bridging the gap between both parties.
Continuity
Agency
Blakitecture: Beyond acknowledgement and into action Sarah Lynn Rees explains that the Blakitecture forums at the MPavilion have become a place to share experiences, indigenous understanding and inspire critical debate. It is events like these that are slowly becoming more mainstream, and as this happens, Research
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Kartiya are like Toyotas Kim Mahood Kartiya are like Toyotas is an essay by Kim Mahood about the complex relationship between remote communities and the government workers (kartiya). The essay takes the form of a narrative and is a mixture of satire and serious commentary. Kartiya is a term used for a non-Aboriginal working within an Aboriginal community. They are the people who work in positions of power, such as teachers, doctors, police, and business owners, who are positioned by the government to ensure things run how they ‘should’. The essay follows the experience of a newly appointed kartiya who is full of enthusiasm and ambition, who is slowly worn out by the complicated lifestyle and is forced to retreat back to ‘society’. The kartiya becomes a point of contact, help and blame for the community. They begin their relationship trying to get as much as they can out of the worker while there is still enthusiasm, until finally, the worker breaks down from being blamed for everything, spending all their time in interaction with Aboriginal people and past baggage. At this point, the kartiya is replaced by a new one, just like a worn out Toyota. Kim criticises this cycle of events, explaining that there is a large white population in Indigenous Australia which is highly influential but rather ill equipped for their role on country. Workers who had worked in some of the worst environments in the world, including Afghanistan and Iran, have often noted the difficulties don’t compare to that in Indigenous communities. If the condi42
tions are so complicated, why has the government not trained people effectively? Kim also notes that upcoming students chose to study overseas cultures because they are uncomfortable in confronting the complexities of Aboriginal Australia. The ideas that Aboriginal people, without their identity, are basically considered poor, unemployable, short lived, poorly educated, violent, drunk substance abusers, frightens both upcoming students and the government.
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“It seems that the young, who might be expected to carry fewer prejudices than previous generations, feel warned off, forbidden to enter the complex territory of the country’s first people.”
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Application
The process of reconciliation and closing the gap could be considered a Wicked Problem. It involves many stakeholders, has many variables and does not have a simple or singular solution. Governments and academics don’t have the answers, and the communities themselves don’t either. The situation is even further complicated when each community is so uniquely different.
It is disheartening to read that young people feel intimidated by the complexities of Aboriginal Australia. It seems that this attitude is only reinforced by mainstream media’s coverage of topical issues.
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It is clear that the Gurindji Culture Centre will need to a place that welcomes visitors into the community to communicate the complex history around the Wave Hill Walk-Off and stolen generations, in order to prevent this distancing between Australians.
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Trapped in the Gap
Sand Talk
Emma Kowal
How Indigenous Thinking Can Save the World Chapter 1: Porcupine
I have often wondered what term would be applied to left wing pro Aboriginal supporters who are almost reversely racist due to their pity and condescending, patronising, ingratiating attitude.
Tyson Yunkaporta essentially considers Indigenous knowledge superior to the common knowledge as it managed to live in a way that did not cause the destruction of the planet. The land has always been changing, and Indigenous cultures didn’t resist, they adapted. The Sumerians, Romans and Anglo’s simplified the natural patterns and chaos of the world to give control and aid the “temptations of narcissism”. The Indigenous way of thinking grounded people to the earth and meant that a sort of symbiosis with country was developed. Unlike the romanticised notion of living on the land, the real process of hunting, growing and sitting by the fire was actually very hard work. Yunkaporta reflects that he actually chose to live in the city and indulge in a neolibreal lifestyle because it was more appealing and easier.
Emma Kowal explores the idea of White Stigma in her book, Trapped in the Gap, and labels this type of people as Anti-Racists. She categorises them as predominantly left wing, middle class professionals. Reflection I often find myself in this place, finding it hard to separate the reality of the situation from the mythologised story of the noble savage and the atrocities the British inflicted on them. While acknowledgement of these events and an understanding of why many communities are in the situation they are is key, to pity all Aboriginal people is an inappropriate way to understand the issues we face.
While lots of Indigenous knowledge is restricted to certain people within a community, Elders, women or men, there is still plenty to learn. I hope that our consultation with the Kalkaringi community will give us some insight into the different stories and traditions associated with the land and ‘dreaming’.
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He also bemoans hows Indigenous knowledge is talked about at lectures and symposiums, but when it is put to use, it’s always cultural. You never see economic reform, social policy or trade deals based on indigenous knowledge. Language can restrict the uptake of Indigenous Knowledge as there may not even be words in English that can translate the Aboriginal meaning. This is often exemplified when a complex idea is filtered and diluted from it’s oral tradition to English, where the written words barely touch the surface of the original concept.
Application Don’t make any assumptions about people. Build a relationship and discover who they are as an individual.
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We Don’t Need a Map Warwick Thornton’s documentary We Don’t Need a Map explores Aboriginal Australia’s relationship with the stars and reinforces his stance that the Southern Cross symbol is essentially Australia’s swastika. There are 88 constellations visible from earth. The Southern Cross is smallest and is situated in the middle of the Milky Way. It’s stars are called Beta Mimosa, Delta Crucis, Alpha Crucis, Epsilon and Gamma Crucis. The Southern Cross can only be seen in the southern hemisphere and it never sets. The light we get from the Southern Cross is about the same age as British invasion. Aboriginal Australians have told stories of the sky for 60 000 years. Both the sky and the land are sacred and every language group has different stories. The blank space between the stars is just as important as the stars themselves, including the Dark Emu. The stars and the land became part of stories that acted as songlines. These songlines were taught to each generation and became a way of navigating across the country.
married water husband rainbow and earth husband Nardi. When they decided to have children, the humans and animals, they made totems and assigned their dreaming. This is why it’s important to only paint your own dreaming on your body. For many language groups, stories of the Southern Cross are prohibited by tribal law and only told to certain people. The sun was also observed by Indigenous people, with an Australian stone henge, older than the English one and older than Egyptian studies, at Wurdi Youang marking the solstice and equinox.
23. Warwick Thornton
24. Crux Constellation
For the Gumatj Yolgnu people, the Southern Cross is Djulpan and the sky is gapala, the throne of the universe. Wardaman elder Bill Harney explains that behind the southern cross is water and as the emu bends to drink, its footprint leaves the five stars. For the Wardaman people, the creation story of the sky boss Nardi and Dungdung the frog lady and the rainbow explains the positions of the stars. The story is that there was originally nothing but empty land until Dungdung made earth, and 46
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Today, many Australians celebrate the Southern Cross as a symbol of our country, but many other countries also recognise it, including Brazil. However, for many Indigenous people, the modern representation of the Southern Cross is insulting and does not represent their stories. The Union Jack planted when terra nullius declared. From the beginning of settlement, flags were a contentious issue. 166 years ago, the Eureka Stockade occurred and a flag representing the working class, democracy, anti establishment sentiments and a fair go was created. This flag also didn’t represent Indigenous Australians, and the underlying symbol behind the Southern Cross was St George cross. A combination of the Union Jack and Eureka Stockade flag became the first red Australian flag and finally our current blue flag. The Eureka flag was adapted to become an anti Chinese yellow peril flag and soon became attached to a culture of racism. After the Cronulla riots, comments from John Howard, fuelled an idea that there wasn’t a racism problem. This made the actions of racists acceptable and a link between a nostalgic past and an ‘Anzac spirit’ was made by those in defence of their nationalistic position. When in reality, there was never a past to be nostalgic about while Aboriginal people were actively exterminated and bred out. Our history has led to an underlying idea that poor people, Aboriginal people and ‘boat’ people are expendable in the pursuit of the Australian Dream. 48
As the Southern Cross became a symbol of white Australia, jingoism, patriotism and nationalism, tattoos depicting it increased. These tattoos resembled a search for culture and identity that white Australia does not have. Rapper Briggs called the idea of an Aussie or Anzac spirit ‘a dreaming for white dudes’. The Southern Cross ultimately represents a narrowing of the Australian identity to excluded Indigenous people, who already celebrated the stars, and ‘boat’ people, who probably used the Southern Cross to guide their boats. An opposition to the cross has been growing and tattoo removals have been increasing. The Big Day Out banned the Australian flag after an event called ‘kiss flag or get hit’. Academic Roz Ward was suspended by La Trobe University for saying the Australian flag was racist. Much like the swastika, whose origins of peace and kindness were re-appropriated by Nazi Germany, the Southern Cross has been marred by nationalistic sentiments.
25. Eureka Flag
26. Australian Flag
27. Aboriginal Flag
28. Future: Golden Wattle Flag
The Aboriginal flag also doesn’t represent all of the first nations peoples, but it has become a source of pride and acts as a refusal of colonisation. Perhaps a new national flag such as the Golden Wattle Flag can better represent the country. Linking Aboriginal culture, the sporting green and gold and the natural colours of the landscape to forge a new national identity.
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The Dreaming
Racism is Destroying the Australian Dream
WEH Stanner
Stan Grant
The Dreaming is a concept in Aboriginal culture that cannot be translated into English because we do not have the words to describe it. It could be considered as a history, a place where spirit came from, a narrative, or even as a custom, totem or law of life. WEH Stanner indicates that “a central meaning of The Dreaming is that of a sacred, heroic time long ago when man and nature came to be as they are; but neither ‘time’ nor ‘history’ as we understand them is involved in this meaning.” With a European world-view, we split words such as ‘body’ and ‘spirit’ into two opposing categories. It is also understood that there is a linear time frame of past, present and future. While we hold onto concepts such as these, it will always remain a struggle to understand The Dreaming as it is understood by Aboriginal Australians. The Dreaming can also be interpreted as a philosophy or mythology that acts as the basis for culture and everyday life. It provides stories of cosmogony and morals, information and mapping, and is lived, describing family, nature, seasons and life. The most incredible thing about The Dreaming is that it has survived as an oral tradition for over 60 000 years. The consistency between the stories across Australia and the deep knowledge held in the stories highlights its importance. While the concept of the 50
‘noble savage’ underpinned early Australian conceptions of Aboriginal Australians, it is now very clear to see that they had incredibly sophisticated social, cultural and philosophical systems. Reflection I have always been hesitant to use the term ‘Dreaming’ as I believed it to be vague and generic. By applying a single English word to a vast array of Aboriginal language groups’ culture seems to degrade and simplify it. The ‘Dreaming’ as I understand it is the underpinning philosophy and cosmology of Aboriginal culture. Each language group has it’s own versions of the stories and myths. These stories are of such a complex nature that they are timeless and ongoing, and they provide guidance on how to manage the land, family structures, trade routes and even how to read the stars and weather patterns. It is clear that Graeco-Roman cultures deliberately placed humans at the centre of their cultures in order to gain control and organise the chaos of the universe. While I have a huge appreciation of Aboriginal Culture, I feel very separate from it and I still find navigating a conversation about the topic difficult. Without meeting Rob Roy and the others, I am finding it very hard to design for culture that I haven’t yet experienced or fully understood. Bower 2020
Stan Grant’s powerful speech is arguably Australia’s Martin Luther King moment. It went viral online and it led to the film written by Grant and directed by Daniel Gordon. Grant highlights that the Australian Dream is flawed, in that it leaves behind its original inhabitants, because of entrenched racist ideas put in place from terra nullius. There have been successful Aboriginal people, but they have succeeded because of their own hard work and due to their ancestors resilience and suffering. The dark past of Australia still haunts many Aboriginal people. It was a past that disregarded culture, language, art, lore, law, history, trade and agriculture.
an increased rate to 50% for juveniles. Living conditions in some places are worse than third world countries and it is more likely that a child will be locked up in prison than finish high school. We have come a long way, but there are still many things left in order to achieve reconciliation, equality and an Australian Dream. The Australian Dream speech is powerful and emotive, succinctly highlighting how far we must come to improve the situation for many Aboriginal people.
29. Stan Grant
Grant is a Wiradjuri man, and he explains how a War of Extermination was waged on Aboriginal people. With the likes of Captain Arthur Phillip sent out raiding parties to “bring back the severed heads of the black troublemakers”. A Charles Dickens quote, “ better that they (the noble savage) be wiped off the face of the earth”, highlights how imperialistic and Eurocentric the British were. Despite attempts to bridge the gaps through tokenistic gestures such as the Lingiari sand pour and Freeman torch lighting, the statistics still speak volumes. Comprising 3% of the population, Aboriginal Australians make up 25% of the prison population, with Research
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The Australian Dream The Australian Dream shares the stories of two successful, well known, proud Aboriginal Australian men, who despite fitting into the Western model, are still racially abused and disrespected. Stan Grant is a journalist who has worked in some of the most dangerous and deprived parts of the world, and he still comes back to Australia to find Indigenous people suffering from racism, higher incarceration rates and earlier deaths. When he heard of the treatment that AFL star Adam Goodes was receiving, he decided to write his famous Racism is Destroying the Australian Dream speech, which led to this film.
people’s history and a new identity for himself. In a heartbreaking scene, Goodes speaks to his mother about her childhood and what it meant to be part of the stolen generation. It highlights to me the extent that trauma like that can have, and the repercussions on the next generation. At the peak of Goodes’ mental health battle, he decides to go back to country and reconnect with the land. It was incredible to watch how healing the process of returning to country was and how feeling the soil on his feet was so powerful. Goodes had not previously been aware of his peoples cultural practices and had never been on country, yet he felt a strong connection to the land and its healing properties.
Racism was pulled back into focus in 2013 after a 13 year old girl called Goodes an ape. Goodes spoke out against the racism and his stance was not received well by the AFL community. For two year, stadiums booed Goodes, until finally he lost his passion for the game and decided to retire before his time. While many people supported Goodes, it was alarming to see how many people participated in the booing, and how many media personalities defended it, including the likes of Alan Jones, Eddie McGuire, Andrew Bolt and Sam Newman. It was interesting to learn that Goodes’ mother was of the stolen generation and decided to move her sons away from relatives so that they could live ‘normal lives’. She kept her past from them in order to protect them and as a result, her children didn’t really have a connection to their Indigenous heritage. The events of 20132015 sparked a journey for Goodes that led him to discovering his 52
The Australian Dream is accessible for the vast majority of the country, but for those who are racially vilified and excluded from that narrative, it has become a distant dream. The film explores the best and the worst of Australia. A country with thousands of years of proud culture, and a few hundred years of pain and suffering. While the tears come flooding out during the film, you are left with an ounce of hope that this country will one day overcome it’s dark history.
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Utopia John Pilger’s Utopia is an eye opening documentary that focuses on a handful of the worst stories from around Australia. While the documentary is sensationalist, it’s purpose is clearly to generate awareness that there are still many communities living in third world conditions. Pilger explores the reasons why Aboriginal people are in these situations and what it means for their daily lives. Utopia is the poorest place in Australia. The houses often have up to 20 people living in them and there are no kitchen, electricity, showers or sanitation. The blocked toilets, poor diets, cramped conditions and exposure to dust is leading to cross contamination between people, especially children, leading to diseases such as trachoma, gastroenteritis, heart disease, diabetes and renal failure. The children often have cockroaches in their ears, leading to otitis media which results in delayed learning from impaired hearing. Similarly to Utopia, the community at Mutitjulu near Uluru has terrible conditions where up to 32 people in one house because up to 70% of the other houses have asbestos. The council subsidises meat and flour, leading to a very unhealthy diet leading to malnutrition and bloating. Pilger argues that these conditions have been unaddressed because they are being ignored in the hope that these people just die out, much like the past governments hoped. The majority of present policy makers live in the cities, are wealthy and cannot even conceive of the deplorable conditions in these communities.
It is unclear whether the ignorance around Aboriginal history is accidental or intentional. Since Terra Nullius and Edmund Barton’s White Australia Policy, there has been a war over history. In the Australian War Memorial, there is no mention of Aboriginal soldiers from the First or Second World Wars and no mention of the Frontier Wars. This is a result of pre 1967 Referendum ideas, when Aboriginal people were considered animals, portrayed on coins next to the other fauna, but not counted on the census. Rottnest Island is now one of Western Australia’s premier tourist destinations, but it was once one of the British Empire’s most isolated concentration camps. Tourist guides don’t mention this history, as profits from the Karma Spa and the $240 rooms are more important. The site was once a gallows, the rooms were once cells and the kitchen was once a morgue and there is a mass grave site that is desecrated by foot traffic.
The colonial attitude towards Aboriginal Australians in Western Australia has continued in the prison system. There are prisons specifically designed for Aboriginal inmates, using a warehouse style ‘racking and stacking’ system. Aboriginal imprisonment rates are one of the worst on the planet and there have been 434 deaths in custody since 1991. One of the most horrific cases was when Mr Ward was baked to death in the back of a 56 degree prison van. Many others have been accidentally killed in protective custody due to neglect while intoxicated.
Land rights are still at the heart of Aboriginal politics, and the Wave Hill Walk Off, Mabo case and Uluru Statement are all essential to healing past wrongs. However Prof. Jon Altman, ANU, believes that the topic has become too ‘politicised and acerbic’. He thinks that we are incapable of addressing the Aboriginal ‘problem’ from within Australia and that we may need overseas help. There has never been a transaction, submission or treaty between the British or Australian governments with Aboriginal people. Does good housing, education and health lead to a change of circumstances, or will a treaty and voice in parliament then translate to an increased standard of living?
The Northern Territory Intervention saw the army deployed in a National Emergency to fight against alleged paedophile rings and ‘petrol warlords’, based on misinterpretations of the 2007 ‘Little Children are Sacred Report’ and exaggerated rumours. The report was an investigation into child abuse in the Northern Territory, suggested various steps to ameliorate the problem over a fifteen year time frame. Rex Wild criticised the government’s approach with the Intervention, arguing that it ignored most of the key recommendations of the report, just paying lip service to it. Pilger believes that the Intervention was another misguided Federal move to enforce control on Aboriginal communities, allowing for easier introduction of Uranium mines. There is now evidence from 11000 health checks that the paedophile rings were a myth. Subsequent Labor and Liberal parties and the UN have condemned the Intervention.
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The final atrocity explored by Pilger was the removal of babies from mothers in Queensland with no explanation or legal advice. The NT government has been spending more on surveillance and child removal ($80 million) than on community support ($500,000).
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Mystery Road Mystery Road
Mystery Road Season 1
Mystery Road is a film and drama series that explores Jay Swan’s experiences as an Aboriginal detective. Aaron Pedersen, Jay, is joined by Hugo Weaving in the first film by Indigenous director Ivan Sen. The film explores how old white money controls the remote community that Jay and his family live in. It highlights issues of drug trafficking using road trains, child abuse, gambling addiction and the poor housing available to Aboriginal people.
Rachel Perkins took the helm for Mystery Road Season 1, introducing Judy Davis as Swan’s new police partner. The season centres around the complex relationships within a remote community. The TV series becomes much more political than the movies and looks at ideas such as kinship, economic success, sorry business, Native Title, and white guilt held by ranch owners whose ancestors used strychnine to poison Aboriginal elders to seize lands.
Goldstone Goldstone is the sequel to Mystery Road. A broken Jay Swan must get to the bottom of a missing persons case. Jacki Weaver and David Wenham are the leaders of a large mining company that is seeking to gain access to lands protected by Native Title. While pretending to be democratic, they eventually murder an influential elder played by David Gulpilil. Sen is clearly critiquing the actions of mining magnates such as Gina Reinhart and Andrew Forrest, who have used questionable tactics in the past. This film’s relevance was once again reignited when Rio Tinto blasted a 46,000 year old cave in the Pilbara region in 2020. The destruction of this cave is not an isolated case, and the distress of the Puutu Kunti Kurrama and Pinikura People has sparked debate over the effectiveness of the Heritage Act at protecting sacred cultural sites. 34. 35. 56
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Mystery Road Season 2 Warwick Thornton and Wayne Blair came on board for season 2 of Mystery Road. The first episode is clearly in Thornton’s style and is very reminiscent of True Detective season 1. The series uses the typical detective story to help explore ideas of welcoming to country, old law vs new law, repatriation of bones and artefacts and a growing strength and solidarity among many Aboriginal groups. In terms of architecture, Thornton critiques the grandiose large scale houses of rich privileged people, in a scene where the progression to the bathroom captures the soullessness of the house. The house has a large pool, glass balustrades, polished concrete and the typical vanilla aesthetic of magazine domesticity. This is juxtaposed to earlier scenes, where simple weatherboard and corrugated iron houses are filled with family, life and humanity. Thornton’s season of Mystery Road is much slower than Perkin’s first season, taking its time to explore the relationships between people, country and community. The pace of the show reflects the same approach as Samson and Delilah and the Beach documentary.
Reflection The outback is rough and an architecture using polished metropolitan materials will not stand up to the elements. It is clear that robust materials are chosen for pragmatic reasons and it is the architects job to apply them in a way that does not result in hot steel boxes. The buildings need to withstand the weather and dust, vandalisation, and allow for a complex program. Most interactions between people in Mystery Road were outside. It is clear that the architect must design for a strong connection to the landscape, facilitating outdoor use. Watching the Beach on NITV was a fantastic opportunity to unwind and reflect. It made me want to pack up and head to an isolated place myself. It reminded me of my time trekking in Nepal, the simple bare essentials accommodation. Architecturally, the shed that Thornton inhabits is very basic, but seems very alluring. With no glass, and just operable shutters, the connection to the outside is immediate and intimate. The rusted corrugated metal has left holes and gaps that allow for rays of light to flood the space. The space feels fulfilled despite its simplicity. I would love to achieve a similar connection and intimacy with the landscape in my culture centre through the use of minimal design.
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Living Black Kevin Rudd
Archie Roach
The apology to Indigenous Australians was one of the first things Kevin Rudd did as Prime Minister. He was told not to by his party, and expected a racist kickback from the rest of the country, however he believed that as a symbolic gesture, it put the country onto a trajectory for a treaty.
Archie Roach is one of Australia’s iconic musicians. He has used his music as a way to tell his story. Roach is a member of the Stolen Generation. He was forcibly removed from his family at 2 years old in what he describes as a “harrowing experience”. He was fostered to a couple of families, with the first few being quite bad experiences, including belting, being fed raw potatoes and being made to sleep outside. Roach’s third foster family, the Cox’s, were loving and affectionate, and he finally had a place to call home, but he never felt the connection you would have with real parents. When Roach decided to find his family when he was 14, he discovered that his mum had passed away. He was left looking for answers with broken links and leads. He moved to Sydney after school and upon meeting an old Aboriginal man, he was taught about surviving in the city, but was also introduced to alcohol. He soon learnt of the cruelty of police, who treated him as a homeless drunk, with no inclination to help a lost young man. This treatment really opened his eyes to the whole system and how the establishment has been capturing, chaining and prosecuting Aboriginal people since invasion. Roach moved back to Adelaide where he met his soulmate Ruby Hunter, who was also Stolen Generation. Ruby was also a musician,open and talkative, and they started a family of their own sons, as well as foster children and nephews. Paul Kelly heard Archie Roach on Blackout and asked him to open
Rudd grew up in Eumundi with his working class mother, after losing his father at the age of 11 and understood what life was like growing up in poorer conditions than most. He joined the Labor Party in 1972 and was inspired by Gough Whitlam. He studied Chinese culture and was always aware of the poor conditions of Aboriginal Australians. He was upset that since the Wave Hill sand pour, and the Mabo case, there had not been enough developments in favour of Aboriginal Australia. Closing the gap was an important part of his Prime Ministership, that was plagued by financial crisis and internal party politics. Rudd believes that a constitutional treaty would result in a new generation of policy for the country. While many believe that Rudd's Apology was an empty gesture, a superficial political stunt, Rudd argues that it was an essential part of the mourning and reconciliation process. How can a new relationship be formed when the past is not acknowledged?
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Reflection Australia remains the only Commonwealth Nation without a treaty with its Indigenous people. The bicentennial year of 1988 was the first good opportunity for a treaty, however Bob Hawke opted for a reconciliation approach. The 2000 bridge walk and Kevin Rudd’s apology also offered opportunities for a treaty, but it still didn’t happen. The Uluru Statement from the Heart has been the most recent opportunity for a treaty, however both Turnbull and Morrison have opposed the idea. Bower 2020
for him at Concert Hall. Roach performed Took the Children Away. Ruby convinced Archie to follow up with an album when Kelly expressed his enthusiasm. He realised that ‘when we shine and people see that, it’s not just about them, it’s about Aboriginal people’. Ruby died of a heart attack at 54, devastating Archie. He later had a stroke and was also diagnosed with lung cancer. Archie has revealed that spirituality helped him survive and music has been his great healer. He believes that in telling his story through his music and memoir, is both healing for him and all of Australia. It is necessary for the past stories to be exposed and confronted in order for Australia to move forward as one united country.
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Black As Black As is a web series that follows the adventures of three Yolngu men, Chico, Dino and Jerome and their Scottish friend, Joseph. The series is filmed by director David Batty, who also directed the 2001 series Bush Mechanics. Black As has many elements that are similar to Bush Mechanics, however it is much more appealing for a younger audience. It is incredibly interesting to see how different life in the Northern Territory is compared to the south east coast of Australia. The stories are really fascinating and they highlight the good side of living in an Aboriginal community. The relationship between Joe and the Yolngu men was particularly intriguing and it helps add complexity and debate into the show’s overall adventure based narrative. Joe grew up in the community of Ramingining when his parents moved there, becoming friends with the local Aboriginal boys and learning the language and traditions of the Yolngu people. The mixture of Yolngu traditional and contemporary life is explored through the whole series, juxtaposing car mechanics with canoe making and speed boats with spear fishing.
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Black Comedy Black Comedy is a sketch comedy program on the ABC. It is a playful and unapologetic take on many stereotypical Aboriginal personas and critiques the way the rest of Australia portrays the Aboriginal community. It also investigates the complicated relationships within the Aboriginal community, whether it be community to community, or intergenerational. I found a lot of the program to be humorous and entertaining, however the jokes were often forced and didn’t land. This is not just a critique of Black Comedy, but Australian comedy in general. It lacks the quick, nuance and absurd aspects of deadpan British humour. Reflection The creativity and joy from this series has really given me hope for the future of Australia. The relationships between the four boys and their connection to traditional customs and the land reveals how strong the Yolngu culture currently is in the Northern Territory. I feel that we are at the beginning of a seismic shift towards an Australian that embraces Aboriginal culture and history. The growth of the Garma Festival or the election of the Victorian First Peoples’ Assembly are just two examples of this progress. Phil’s news that Kalkaringi has been given Government support for the social club, community centre and family centre is another positive sign. However, we all live in our media bubbles and I expect that there are many communities that are still suffering greatly. 39. Bower 2020
You Can’t Ask That You Can’t Ask That is an ABC television program where common controversial questions are answered by members of a specific group. The Indigenous episode highlighted how pervasive a lot of the stereotypes against Aboriginal people are and exemplified an array of answers depending on the age, gender and demographic of the person. It was interesting to note that while the answers differed, the common themes of respect, reconciliation, mateship and pride were important to all. What do you call us? Yes Indigenous- Born here, however could be misunderstood as flora and fauna Aboriginal- Most common and accepted Australian- Keep it simple Language group- If you want to be specific No Indigene- Old fashioned Aboriginie- Old fashioned and racist What free stuff have you got from the government? The government got their land for free. Nothing for free, it just comes with terms and conditions.
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Welcome to country
Walkabout
How hard is it to be Aboriginal?
It is a nice thing to do and instills pride. It respects the current, past and future Elders, and acknowledges that you are entering land that is part of a certain language group. It is powerful and important, and some believe it can prevent curses. It is important to have an Elder present..
The idea that all Aboriginal people go ‘Walkabout’ is a racist stereotype. For communities that do, it often has a different name and it’s about connecting to your country or travelling to other peoples’ countries. For traditional communities, it is a part of culture and becomes a responsibility for the custodians to ensure the continuation of song lines and customs. ‘Walkabout’ is often an opportunity to practice coming of age ceremonies, men’s business or women’s business.
Racism makes it hard for many Aboriginal people to feel comfortable in a Westernised environment. Subtle racism, from nervous shop owners, hovering police, uncomfortable parents, to being declined taxis or drinks at a bar, can take its toll on the strongest of characters. Native title has not made traditional cultural practices any easier, and death and incarceration rates are still much higher than the rest of Australia. For Aboriginal people who are not practicing traditional beliefs, it can often be hard to shake stereotypes of hunting, gathering, painting and being close to nature, however being Aboriginal is a source of pride, knowing that 60 000 years of history underpins your culture.
Alcoholics There is a misconception that Aboriginal people are alcoholics and it is important to note that there are many non-Indigenous Australians who also suffer from alcoholism. The ones that do struggle with alcohol dependency often live with generational trauma, family or economic problems. The British brought tobacco and alcohol to Australia and introduced it to Aboriginal communities to make them docile,placid, and dependent. Light Skinned Aboriginal
Slept in park Sleeping in the park, not by choice, is only common for low socioeconomic groups and is also practiced by non-Indigenous homeless people. Sleeping in national parks, as a choice, is one of Australia’s favourite pastimes and is something Aboriginal Australians have done for 60 000 years. Blackfella from Whitefella
The colour of your skin does not matter. If you identify as Aboriginal, and are accepted by the community, then you are Aboriginal. Comments such as half caste or 25% Aboriginal are considered insulting, as much of the stolen generation find identity to be a very hard topic as they were institutionalised and indoctrinated through assimilation.
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Wish You Were White Aboriginal people are generally proud to be Aboriginal. The only time they ‘wish to be white’ is when experiencing racism or living in a very low socio economic situation.
Whether it is appropriate to call an Aboriginal person a Blackfella depends on the situation. It can be an endearing term and a source of mateship or pride, however it can also be considered as racist if you have no prior relationship established.
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Sweet Country Sweet Country is dark and confronting. Thornton doesn’t hold back in his portrayal of the complex situation for Aboriginal Australians during invasion. The film explores a series of relationships between the characters. • • • • •
The good white pastor and his Aboriginal friends. The white stock man, his Aboriginal workers and bastard son who have a relationship that is controlled by fear. The broken, drunk army man who takes his own sorrows out on others. The proud nationalistic policeman who sees all Aboriginals as primitives and criminals. The white judge from the more progressive city, who tries his best to see to a just decision, but despite his efforts, is overruled by poplar racist opinion.
Thornton reveals that there were specific ways to survive as an Aboriginal Australian during invasion. You could live on country, away from the settlements, in fear of a Frontier War. You could live in submission to the white people, working under their rule and law. A few lucky Aboriginal people could become friends with their colonisers, but at a cost, become despised by other white people and their own community. However, no matter which lifestyle was handed out, white Australia asserted its dominance, whether through violence, economics, policy or social pressures, to control, assimilate and eradicate Aboriginal people.
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Reflection This film is incredibly powerful and the ending leaves me in tears every time I watch it. Australia's colonial past is just so horrific. It's sometimes hard to fathom. Sam Neill's line to end the movie resonates strongly with me. “What chance has this country got?”
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Ten Canoes
Samson and Delilah
Rolf de Heer and Peter Djigirr
Thornton’s Samson and Delilah is an emotional story about two Aboriginal children living in central Australia. It explores the complexities of growing up in a disadvantaged, isolated community. Samson is a petrol sniffing boy who seeks the affections of the beautiful young Delilah. After Delilah’s grandmother’s death, Samson takes her to Alice Springs to escape the judgement of the close family. There is no happiness found in Alice Springs, where Samson’s sniffing habits are increased and Delilah is raped and hit by a car. Thornton uses this film to depict the terrible living conditions in remote communities. Breezeblock houses full of dust, graffiti and rubbish are the homes of the community. The all essential health centre is a truck with a painted sign. The store has select goods at extortionate prices. The finest building in town is the corrugated iron church. The monotony of daily life is exaggerated by the reggae band who play the same song all day, all the time.
Ten Canoes is a very successful film that manages to portray many traditional ideas in a way that fits into modern cinema. Unlike many other films about the horrors of British invasion and early colonisation, Ten Canoes is a more light hearted, beautiful film that celebrates the culture of Aboriginal Australia and tries to highlight ideas such as storytelling, customs, neighbouring tribes, hunting, canoe making, kinship, marriage, death and funeral. It is very interesting to have the whole film narrated by David Gulpilil, with the cast speaking entirely in Yolngu Matha. The film is beautifully shot and the story is intriguing as well as educational. The slow moving story highlights aspects of living in the present and living on the land, and moments of cheeky humour from Gulpilil and the cast are very funny.
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Thornton also critiques the way that Aboriginal artists are often abused by distributors, showing Delilah’s grandmother’s art being bought for a few dollars and being sold for $22 000. Throughout all the heartbreak and drama, Thornton always looks back to the country. The film ends with the pair settling in an outstation, looking out at the desert. Thornton seems to suggest that reconnecting youth to traditional practices and the landscape could help define some meaning in their lives that could reduce drug use and depression.
How do you incorporate traditional building techniques into a new building? Is it part of architecture’s role to keep these traditions going? If a community has lost its old ways, should they be encouraged to reintroduce them?
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Australian Story Fighting Fire with Fire Victor Steffensen is a cultural fire practitioner who travels the country teaching traditional owners and fire services how to use low intensity cool fires to rejuvenate and control grasslands and forests. The lack of care of the landscape since colonisation has led to drastic changes in ecosystems. The fire services have been using high intensity hazard reduction fires that don’t promote rejuvenation of native grass. Despite these efforts, climate change has reduced the window for intense back burning and more traditional cool burns are more important than ever. Cultural burns can even save property from bushfires but are not a panacea for all future fires. Steffensen moved to the Aboriginal community of Laura in Queensland to escape his life and live on country. He became close with elders George Musgrave and Tommy George and began to capture their encyclopedic knowledge of the landscape. He discovered that the fires were traditionally started in sync with breeding time and seasons of animals. Indicators in landscape would suggest if fires were necessary. Burning keeps the land young, with new growth, flowers and fertilisation. Each ecosystem required a certain burn. Victor and the elders were prohibited to start fires initially and so they began to do it illegally until the government saw the benefits. Their fires resulted in increased diversity of understory, increased biodiversity, and soil nutrients. George and Tommy were both awarded honorary doctorates by James Cook University. The rising awareness of Aboriginal knowledge of the land due to terrible bushfire seasons is helping to secure a future for Indigenous cultural practices and eradicate any remaining perceptions of terra nullius. 70
50.Victor Steffensen 51. George Musgrave and Tommy George
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The Nightingale
Counting Our Victories
Jennifer Kent’s The Nightingale is a dark visceral portrayal of the harsh lawlessness of the 1825 British Penal colony in Van Diemen’s Land. The Red Coats are shown to be as crazed as soldiers in Joseph Conrad Heart of Darkness. Genocide of the Aboriginal people and brutality towards convicts were the foundations of Tasmania. The film follows the travels of a Irish mother, whose baby and husband were murdered as she was raped. She finds an Aboriginal guide, and they become close due to their shared hatred of the English. The Aboriginal man speaks Palawa kani, a constructed language built using remaining Tasmanian Aboriginal languages, and becomes the vessel to critique the ruin of Tasmania. He comments on the brutality of white people and how they have ruined the land by bringing hoofed animals such as sheep. He exemplifies a strong connection to country, with the ability to move slowly and unheard, make fire and find food and medicine. He indicates that his totem animal is the black bird.
The economic transformation of many Aboriginal People, who have found opportunity through education, mining, arts and music has established a middle class that did not exist in the past. Langton argues that it is time to stop the palliative economic strategies that assume Aboriginal people are a dying race. She says this view is pessimistic and has always been perpetuated by the mainstream news. The idea that the white people will leave or that the Aboriginal people will die out are both wrong. Australians must coexist. Noel Pearson denounced the ‘soft bigotry of low expectations’, a quote from President Lyndon B. Johnson, labelling it a defeatist attitude, that is irrelevant when so many Aboriginal people are finding success and exceeding expectations. Enrolments into medical degrees have reached parity with non indigenous enrolments and it is now clear that providing equal education for indigenous children can lead to equality in job opportunity for adults.
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Much like Sweet Country, the Nightingale makes you realise why Australia has turned out the way it has. The more I learn about colonial history, the more heartbreaking it becomes.
The outpour of creative work by directors such as Perkins, Warwick, Sen and Blair tell stories from an Aboriginal perspective that don’t focus on the culture wars, but rather contemporary life. Langton references Redfern Now as a particularly successful show in exploring the newfound middle class of Aboriginal Australia. Aboriginal culture was thought to die out, but it has survived despite the welfare state. The work of artists, film makers, communities and philanthropists has helped to maintain and renew culture.
Reflection It is heartening to learn that despite the genocide and murder, the Tasmanian Aboriginal Centre has managed to construct the language of palawa kani.
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Maralinga Tjarutja Between 1956 and 1963, the British conducted nuclear tests at Maralinga, 1150km north of Adelaide. They did not get permission from the South Australian government or the Traditional Owners, and conducted the tests in secret. The local people, the Kokatha and Wirangu had lived in this desert for over 60,000 years. They knew the land and lived in sync with the seasons. It was the chosen site to live due to the congregation of water. Colonisation brought with it destruction of the land in the form of railway lines and roads, that divided the community. These services brought white workers who raped women and gave out alcohol and tobacco. The Aborginal people soon began trading cultural artefacts for drugs, sugar and tea. The Aboriginal people were eventually brought to live on a mission in Ooldea where half caste babies were stolen from their parents. This period saw loss of language and culture. When the British decided to start atomic bomb tests, the mission was closed and all the people were moved to the coast, into another country at Yalata, with different customs and language. The British trialled atomic tests and irresponsible plutonium explosions, leaving highly radioactive plutonium and uranium in the soil. The 1967 clean up conducted by the British did not remove the radioactive waste and left it there unfenced. While the site was ‘closed’, Aboriginal people unknowingly entered the radioactive zone, resulting in skin burns, scaring, nausea, vomiting and eventually cancers. Edie Milpuddie slept in a bomb crater and the radiation caused her to have a stillborn child, skin burns and 74
heart problems. Her daughter died at 40 and her granddaughter has heart problems. A Royal Commission deemed the 1967 clean up to be unsatisfactory and after two visits to London, the British government finally supported the construction of a 120 square kilometer fenced area and the removal of plutonium waste. While the land still has dangerous levels of radiation, the community has moved back to the town of Oak Valley because the country is their home. When they were finally granted their land back, they could not recognise it. It looked old and messy. The community elders have now become rangers and use their time to look after the country through traditional burning and tilling of soil. The plants and animals are returning and the community is teaching the next generation the skills needed to look after the land. They still hunt and gather from the land, however there remains dangerous levels of radiation to this day. Cooking on fires can expose them to radioactive soil, with up to 10 grams of contaminated soil being ingested per day in foods such as damper. The community’s connection to their country is more important to them than the dangers of the radiation. Jeremy Lebois is the ancestor of those who fought for the return of the lands around Maralinga Tjarutja. He says that,
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"to understand culture, you have to live on country”. The repatriation of Anangu artefacts, rejuvenation of the land and ongoing continuity of culture and language are the main focus for the community leaders.
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Mad Bastards
Gurrumul
Brendan Fletcher
The documentary film of Gurrumul’s music’s career was even more engrossing on my second viewing. I had followed Gurrumul’s career from his first albums, and I remember seeing him live at the inaugural Boomerang Festival in 2013. There was always something special about his music that made it carry more emotion and meaning than many other artists that I love. Was it due to his blindness and unique way of playing the guitar? Was it because his songs became a vessel for story telling that was unprecedented in mainstream music? Was it his beautiful voice and language? The combination of all these things made Gurrumul special.
cheesy and oversimplified, there were a few key messages. Guilt for their past actions played a huge role in their journey to recovery. Forgiveness from fellow family is another important feature. Communication was necessary and most importantly love for their children. After the film, the actors discuss their own experiences with prison, violence, drugs and alcohol, revealing that even successful people have to struggle with the same issues portrayed in the film.
Mad Bastards is a film based around the story of three generations of men. A police officer grandfather, an angry son in law and a grandson who is a product of generational trauma. It is a story of conflict, family and ultimately forgiveness. The film highlights common issues such as domestic violence, masculinity, poverty, alcohol abuse, crime and Aboriginality. I was familiar with this film before watching it due to years of enjoying the soundtrack by Alex Lloyd and the Pigram Brothers. It was great to finally add some context to the songs.
Mad Bastards is another film that highlights the importance of being on country, and that it can act as a medicine.
The film really highlighted the complexity of family relations in Aboriginal communities that are struggling with crime and alcoholism. How do you raise the next generation of children to achieve success when their living situation is compromised by extended family? It is easy to see how the cycle can continue as one generation passes its problems down to the next. There are a few comic scenes of the grandfather trying to start a men’s group to share their feelings and no one ever talks. This setup is similar to an Alcoholics Anonymous meeting, and emphasises the need for communication and openness in order to create a stronger sense of self and community. Despite the problems of family history, they overcome their differences to support each other. While the ending to the film is 76
The documentary explores Gurrumul’s shy and humble nature, as a member of the Saltwater Band and Yothu Yindi, to his solo career. Gurrumul’s close friend and producer Michael Hohnen helped Gurrumul through his career and became aware of the jarring difference between the priorities of Aboriginal communities compared to capitalist society. This issue is confronted at its most extreme when a sold out American tour must be cancelled so that Gurrumul can attend his mother’s funeral and take up his position as an Elder. For Gurrumul, the choice was obvious, but for his team, the idea of throwing away thousands of dollars and cancelling high profile venues was absurd. Gurrumul received praise from the likes of Sting, Bjorke, Elton John and Queen Elizabeth, and even so, when finishing a performance at the Sydney Opera House, was refused a taxi for being Aboriginal.
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Gurrumul’s music made me proud to call myself an Australian. His songs carry beauty and emotion, and tell stories of his people. They are uniquely and wonderfully Australian. I remember my mum calling, in tears, when we had heard of Gurrumul’s passing. It still breaks my heart to think of it today. Despite Gurrumul’s hard childhood and early death, he is an example of what can happen when Aboriginal culture is brought to the forefront of the Australian media industry. There is a vast array of people waiting for a platform for their voices to be heard and to tell their stories.
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Music Music is a fantastic platform for people to express themselves. Music has been part of Aboriginal culture for thousands of years as part of ceremony, festivities and storytelling. There were songs for hunting, funerals, gossip, travel and myths. Like all cultures, Aboriginal Australians have their own unique style of music, made famous across the world by the sound of the didgeridoo and clap sticks. Musicians such as Archie Roach and Yothu Yindi pioneered political music for Aboriginal Australia and artists such as Gurrumul, Baker Boy and Emily Wurramara have made singing in language popular.
Reflection
Playlist
Painted artwork is the strongest form of expression in Kalkaringi at the moment, however there is also interest in carving, language, history and film production. From consultation, it appears that the recording of language is becoming more and more important. In the future there may be a need for recording studios and musical space, for both performance and rehearsal. Would providing these spaces prematurely spark curiosity and encourage use, or would they sit unused?
Hip hop has been a outlet for Aboriginal politics and stories. Since the 1980’s there has been a strong Aboriginal presence in the Australian music scene. A.B Originals have successfully made it into the mainstream market, with songs such as January 26 becoming hits. Closer to home, Gumbaynggirr man Wire MC (Will Jarrett) saw hip hop as the ‘new corroboree’ and now his son, the rising artist Tasman Keith continues his legacy. Paul Kelly and Kev Carmody song ‘From Little Things Big Things Grow’ has become, “the national anthem of Kalkaringi and Daguragu” according to Rob Roy. This ballad is a powerful song in a similar vein to Bob Dylan’s ‘The Lonesome Death of Hattie Carroll’, ‘The Ballad of Ira Hayes’ and ‘The Hurricane’.
Gurrumul Emily Wurramara Saltwater Band Mo’Ju Thelma Plum Baker Boy Briggs A.B. Originals Frank Yamma Archie Roach Yothu Yindi Tasman Keith Kobie Dee Dallas Woods Ziggy Ramo Jimmy Little The Pigram Brothers Mambali Gawurra Spinifex Gum Kee’ahn Drmngnow Warumpi Band Trials
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From Little Things Big Things Grow Paul Kelly & Kev Carmody Gather round people let me tell you’re a story An eight year long story of power and pride British Lord Vestey and Vincent Lingiari Were opposite men on opposite sides Vestey was fat with money and muscle Beef was his business, broad was his door Vincent was lean and spoke very little He had no bank balance, hard dirt was his floor From little things big things grow From little things big things grow Gurindji were working for nothing but rations Where once they had gathered the wealth of the land Daily the pressure got tighter and tighter Gurindji decided they must make a stand They picked up their swags and started off walking At Wattie Creek they sat themselves down Now it don’t sound like much but it sure got tongues talking Back at the homestead and then in the town
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From little things big things grow From little things big things grow
Then Vincent Lingiari returned in an aeroplane Back to his country once more to sit down And he told his people let the stars keep on turning We have friends in the south, in the cities and towns
Vestey man said I’ll double your wages Seven quid a week you’ll have in your hand Vincent said uh-huh we’re not talking about wages We’re sitting right here till we get our land Vestey man roared and Vestey man thundered You don’t stand the chance of a cinder in snow Vince said if we fall others are rising
Eight years went by, eight long years of waiting Till one day a tall stranger appeared in the land And he came with lawyers and he came with great ceremony And through Vincent’s fingers poured a handful of sand
From little things big things grow From little things big things grow That was the story of Vincent Lingiari But this is the story of something much more How power and privilege can not move a people Who know where they stand and stand in the law From little things big things grow 45.
From little things big things grow From little things big things grow Then Vincent Lingiari boarded an aeroplane Landed in Sydney, big city of lights And daily he went round softly speaking his story To all kinds of men from all walks of life And Vincent sat down with big politicians This affair they told him is a matter of state Let us sort it out, your people are hungry Vincent said no thanks, we know how to wait From little things big things grow From little things big things grow
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Transitioning Online Discussion The conversation about identity and Stan Grant highlighted some key ideas. Can you have a sense of identity if you have never been to a place? Can you have multiple identities? Is language a key factor? Shalini said she felt like a tourist when visiting India, whereas Leif felt a sense of connection to Italy through his family and language. While I have not lived in England, I definitely get a sense of nostalgia every time I visit, as if I am coming home. However, I do not get the same feeling when I visit Indonesia. Emma spoke of having an identity for each part of her life, farm, city and town.
Almost Meeting Rob Roy David and Emma had organised to speak with Rob Roy to discuss the proposed culture centre however he was caught up organising the community amid the COVID-19 lockdowns. Initially David thought Rob may have forgotten us, informing us that getting hold of community members to speak to is difficult. I hope that we get to speak to him later or meet some more people for our consultations.
Reflection Meeting Phil and Penny The news that we would not be visiting Kalkaringi was disheartening, however it was a very understandable decision given the circumstances. It was very nice to meet Phil and Penny on Zoom and finally put some faces to the people we will be working with. It was good to hear some details about the various projects that are proposed for the community. It will be great to meet more of the community and I still hope that we will be able to visit Kalkaringi one day.
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While some classes are repeating week 4, it seems as though the studio is to continue onto week five with the same submission dates. I have mostly spent this week reinforcing my routine that will continue throughout the period of lockdown. I have found that reading about Aboriginal culture has reconnected me to my own spiritual ideas and has inspired me to continue meditation. Listening to more and more Aboriginal musicians has also rejuvenated my passion for playing my guitar. So while I keep getting distracted, it has been the Bower work that has inspired my other activities.
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Documentary Culture Spaces: International
Remake
Jean Marie Tjibaou Centre
There are many examples of successful and unsuccessful international cultural spaces. Alexia, Sarah and I began our research by assessing a large variety of examples from varying cultures and deciding what the key themes were. We found that the key themes were collaboration, stakeholders, and place making. We discovered that the process of creating cultural spaces for Indigenous communities is a political and architectural challenge.
We received feedback on our first version of the documentary and edited to create the final edition. It was clear that we should have focused on fewer examples and really got to the bottom of the themes and concepts mentioned. Further reading and exploration in the ideas of tourism, collaboration and female architects helped us curate a better response to the question. It was interesting to learn that the term ‘empowerment’ can be dangerous, as it implies a more powerful group are giving power to a less powerful group.
The Jean Marie Tjibaou Centre is an exemplar of the Bilbao Effect. A stunning building designed by a Starchitect, that is less than successful in meeting the needs of the local Kanak people. Piano has the best intentions, however the focus on tourism and the use of imported material and labour has resulted in a controversial building. The project did involve the recreation of three traditional Kanak, which are used far more by the traditional owners. 61
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THREAD
Rong Cultural Centre
The THREAD Community Centre was the most successful example that we found. The centre was designed by Toshiko Mori Architects for the village of Sinthian, Senegal. It involved intense community consultation and provided a programme that was uniquely for the locals. Prominent local, Dr. Maguese Ba was consulted and became a leader and influencer throughout the entire process. The building also served as a water catchment and has become a meeting point for the village. The use of local thatched roofing and recycled tiles involved the locals in construction and gives the building personality. As the project has grown, it has also evolved to engage nearby villages and international guests.
The Rong Cultural Centre, in Iran by ZAV Architecture is a walkable urban space designed as a place to gather, host events and to watch the sunset. The architects describe the centre as a public cultural space designed to bridge that gap between tourist attraction and local community hub. A series of workshops were help with the locals to understand the key objectives of the centre. The community expressed the desire for a simply implemented, environmentally sustainable, self-sufficient structure. Although the centre was highly regarded in the contemporary architectural community, locals have described the finished project as a ‘plundering of their island’s natural resources’ and in 2014 it was reported that locals set fire to parts of the building during construction.
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“The original design of THREAD was really based on its ability to respond to the way the community would use it as well as the way the artists might use it”.
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Jordan Mactavish “In this project I was very careful to use local materials…” Toshiko Mori
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Aanischaaukamikw Cree Cultural Institute
Gathering Circle at the Spirit Garden
Women’s Centre
It is important for local users and the design team to develop a trusting relationship with a clear intention of the architectural response, for the community to develop ownership, pride and self-sufficiency. A successful cultural center will empower the community to placemake.
The Gathering Circle at the Spirit Garden, in Ontario, addresses similar public image versus local culture discrepancies. The project was developed with just one Anishinaabe person on the design team, and only once finalised was a tender put out calling for the contribution of Indigenous construction skills. This raises concerns over the level of genuine community consultation and indicates a level of marketing and representation rather than a holistic approach to community indigenous design.
Yasmeen Lari Women’s Centre in Darya Khan is an example of a positive cultural space that utilise local skills and knowledge to serve the community. Lari utilised traditional bamboo building techniques to make well ventilated and shaded space. She lifted the building on columns due to flood risk, utilising the open plan space for flexible programming.
This is seen in the Aanischaaukamikw Cree Cultural Institute; a collaboration with Cree elders and people. The building is a poetic representation of space that respects time-honoured traditions whilst allowing for modern pursuits. Materiality was inspired by the local industry, linking traditional building and craftsmanship. Fir, cedar and maple were used for the timber build, along with various environmental technologies, resulting in a LEED Silver project status. Users have continued to grow and develop with the building, by adjusting and changing the space to suit their needs over time.
“They have to do it themselves, there should be no middle person.”
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Application Environmental strategies such as passive cooling via ventilation and shade and earth coupling via a concrete slab are some applicable method for Kalkaringi. A previous water-tank disaster makes above ground tanks not viable and solar panels are more likely to be successful as an array in the desert, if they would actually be linked to the grid. 90
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Reflection
Application
Researching these culture centres from around the world helped us to understand the differences and similarities in the architecture process. While every culture requires its own unique centre that responds to place, history, use and customs, the process of design can include some key similarities.
Consultation
1. Do your research. Understand history and culture.
Programme
I am excited to begin our consultation with the community in Kalkaringi. All of our research points towards consultation and collaboration as the most important aspect of building cultural spaces. No top down approach.
2. Consider all the stakeholders. The client, tourists, government, investors and locals. 3. Consult closely with the locals and ensure you understand their brief and context.
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The programme for the Gurindji Culture Centre will hopefully be ironed out after the previous years of consultation with Bower Studio. Flexible spaces will be important as the building grows and evolves over time. The spaces should connect to the landscape and act as a story telling device.
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Material
Using local materials seems to be an effective way to involve the community in construction and to connect the building to place. Rusted metal, rocks, and red dirt are a few things that can be used to create a connection to country.
4. Collaborate with the locals in the design and construction of the buildings. 5. Incorporate local materials and construction methods so that the building fits within its context.
Construction
Using simple construction methodologies, a local crew can be trained and involved in the construction process. The works can then be staged and completed as demand and budget allows.
6. Success is often more likely if the building serves more than one purpose.
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Memorial Landscapes What creates a place of memorial? The concept of place is important for creating a memorial. Natural and built environments can symbolise or demarcate an event or story, embody memory or become a place for ceremony and remembrance. Places of memory are often built to mend relationships and can become laden with negative sentiments. Waitangi Treaty Grounds is a memorial for the treaty with the Maori and British colonists, but it can be debated as to whether this place is a memorial for the Maori or the British. In Australia, memorial landscapes were traditionally manifest in songlines and stories about place. The memorial often involved journey or travel. Jefa Greenaway. Ideas of journey and story. Travelled space. Memorials can mark place and make place and every culture has a different way of remembering the past.
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Reflection
Application
It is important to remember who is the audience and who the memorial is made for? Often, the sentimental and cultural meaning can be lost when trying to cater for tourism or economic gain.
Remembering the Wave Hill Walk-Off, the Dreaming stories and the Stolen Generations are all important when designing in Kalkaringi. The landscape can tell the story, and so can the architecture.
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Culture Space: Australia
Community Consultation Techniques
Aboriginal Australians had a variety of building typologies before invasion that utilised local materials and construction techniques. These buildings are no longer used in modern Australia as Aboriginal people have been forced to assimilate into a European style of architecture. The challenge now, is to create buildings and spaces that are appropriate for communities and recognise varying cultural practices. The building’s place within the broader context is important. The connection to nearby buildings and the land and how its materiality responds to the setting. Cultural ideas such as kinship, Law, avoidance strategies, hierarchy and story must also be a guiding factor in a design. Collaboration and consultation is the most important factor. Involving the community in the design and build in order to stay true to the brief provided.
Consultation is an essential part of working with Aboriginal people. A long history of poor decisions being made on behalf of Aboriginal people has made them cynical and afraid of outside intervention. The process of consultation is about relationship building to create trust, understanding and ownership of a process, policy or design. Community consultation requires a high level of cultural competency to avoid insulting or alienating a community. Cultural competency is a skill that is always improving as an individual learns more about a particular culture. It involves knowing, doing, and being. Understanding ideas of reciprocity, respect, time and the nature of formal and informal conversation is key for successful consultation.
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Reflection Understand kinship. Who is related to who? Who is responsible for what?
Reflection Do not build a white elephant! Do not focus on tourism or try to solve every problem with one building.
A good understanding of a communities relationships will help to ensure successful consultation. Dismissing these cultural ties and ignoring the hierarchy in the community can cause disagreements and resentment.
A culture centre must be designed for the communities use, with the community.
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2019 Documentaries Health Habitat: A comprehensive Guide
Housing Programs: Room to Breath
Health Habitat is a not for profit organisation. It was started by Dr Paul Torzillo, Stephan Rainow and the late Paul Pholeros. There three brought experience from their careers as a thoracic physician, public and environmental health office and architect, respectively, to create a guide to improving the living conditions of remote Aboriginal communities.
The Federal and Territory governments allocated $1.1B for improving the housing conditions in communities. $500M for home builds, $200M for employee housing, $200M for repairs and maintenance and $200M for Room to Breath. The goals were to ease overcrowding and increase employment by providing economic opportunities.
There are 9 key lessons that need to be addressed to achieve a minimum standard of housing.
In 2016-2017 the early works packages of $10M were fast tracked. 13 Aboriginal business enterprises were contracted. 22 remote communities received works with 117 dwellings and 74 bedroom and living additions.
1. Washing facilities
2. Nutrition
3. Dust control
4. Washing bedding and clothes
5. Personal care.
6. Temperature control
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7. Human waste disposal 8. Separate dogs and children 9. Reduced trauma
The results were polarising, with some celebrating the improved conditions and employment, others criticised the patronising approach and lack of community consultation. Harsh materials made many of the projects feel no more than tin sheds and some had to be demolished as interior temperatures rose to above 50 degrees.
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The University of Newcastle’s Chris Tucker began Making Room, which had a more holistic community minded approach. It encouraged local decision making and led to increasing employment, infrastructure, local trust and stronger communities.
Their interventions saw a reduction in skin and eye infections. They found that successful projects involved the locals in construction and consultation, and where continual maintenance and durable materials were used. 82. 98
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Indigenous Housing
The Intervention
The Provider Method
In 2007 the Howard Government introduced the controversial Northern Territory Intervention, despite opposition from communities, Greens and Democrats. The “Little Children are Sacred Report” on child abuse within the Northern Territory was the impetus for the Intervention. A crisis level national emergency response was put in place with prohibitions on alcohol and welfare quarantines. A $64.7M housing program was introduced and the ‘Work for the Dole’ welfare strategy was put in place. The Intervention aimed to reduce suicide, unemployment, incarceration and increase the standard of living.
Government provides housing via methods such as CHIP, SIHIP or AREA. $9billion. Equitable housing. Identical. Not considered for each community. Modular and prefab, low quality and comfort. Self Help Model
Guided by self determination principles, can take longer, but can provide longer lasting success. Paul Haar or Jack Thompson foundation The Supporter Model
Support of a community or enterprise to improve housing. Focus on community engagement and construction. Ownership of projects through involvement and skills acquired. Homes plus, Bower.
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Cultural Design Paradigm
Cultural difference should help inform design processes. Avoidance strategies, multiple exits. Open areas. Externally oriented. Families of up to 12 common.
The Intervention was met with opposing views within the Aboriginal community. Marcia Langton supported it, for the most part, as she believed it was an opportunity to give Indigenous women more of a voice. Others believed that it was a Trojan Horse, designed to allow the government to take control over Aboriginal land, Northern Territory resources and attack their culture.
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Today, it is clear to see that the intervention was an error and did not yield the desired results. There has been an increase in youth suicide, self harm, unemployment and incarceration. There has been no increase in school attendance and no decrease in family violence or overcrowding.
Housing as a Process Philosophy
Local, sustainable, non-sophisticated and low maintenance, community engagement
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Design Esquisse Karungkarni Arts Our design exercise was to design a new way to store and display the ever growing collection of art works at Karungkarni Art. The art work was being piled up against the wall, collecting dust and unable to be fully appreciated during the annual Freedom Day festival. We had to consider ways to best represent the art in a flexible manner that was appropriate for everyday and festival use, considering issues such as materiality, buildability, longevity, scale, sustainability, and flexibility.
Dust from windows, eventually to be sealed
Drop down hangers on a pulley system for ceiling hanging
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Mount art on back of doors
Art piled against wall Keep big table for artists to work on
Simple art stands, minimal surface area and hard to move Movable Display Units to be stored against back wall
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Use outdoors as overflow space for a Display Units
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Model Movable Art Stand During class, Caleb, Gaby and I played with ideas for movable stands, pulley systems and simple wall mounts. We concluded that movability, weight and a multipurpose use were essential for success. My design focused on movable art stands that were a simple 2100mmx2100mmx150mm perforated zinc or aluminium stand on swivel wheels with perforated plywood centre that could be drawn out to double the display capacity and act as a storage wall. Fold down seats, steps and shelves were designed using simple caravan fit out one way strap hinges. The aim of these were to secure the stability of the unit, allow for a higher reach, and create a display for smaller works or artefacts. The perforations have a 4mm diameter and would allow for a tool kit of parts to display the art. Hooks, hangers, wooden dowels, and other devices could be chosen to display the art.
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Site
Plans
DRAWERS
STORE
ART DISPLAY LOCK UP
SHED
OPTION FOR MORE DISPLAY SPACE BUT LESS STORAGE
CULTURAL DISPLAY CPD TAP TABLE DESK
OFFICE
PAYMENTS
DESK
INNER DISPLAY PANEL DOUBLES CAPACITY
ENTRY
PERMEABLE SPACE
FOLD DOWN STEP
FOLD DOWN SEAT
OVERHEAD HANGING
WHOLE DISPLAY UNIT ON WHEELS
ART WORKS
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Section & Elevation
Isometric 2100mm
80mm
PEGBOARD HOOK
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ART HOOK
HANDLES
ONE WAY STRAP HINGES
SWIVEL PLATE WHEELS
INTERNAL TRACK WHEELS
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Reflection Penny’s Feedback Penny found all of our designs to have merit and potential. The most successful designs considered storage just as heavily as display, especially the storage of unframed art. The movability units and less complicated designs also drew praise as they would be more useful for the centre, especially in the event of a flood. While dust is an issue, Penny informed us that the Art centre will soon be closing off the open windows, however heat will still limit designs to be away from the ceiling space. While outdoor designs were great from Freedom Day Festival use, concerns over heat and sun exposure were discussed.
art works, and would spin to facilitate storytelling. The majority of the group had varying mobile display units, including Bronte, Sarah, Emma, Caleb, Gaby, Shalini, Leif and I. Some focus heavily on storage while others on display. A strong sense of constructability guided each design, and may have been the reason why each proposal was quite similar in form, scale and materiality.
Considering the order and style of our presentations is very important. Telling a story and making the drawings understandable for the community will be important. Conventional plans and sections may be hard to understand.
The design for the culture centre will have to consider very similar ideas about how to display, store and move artworks and supplies. Not only framed art, but unframed, pottery and artefacts.
The rest of the class all had great designs as well. There were repetitive motifs such as perforations, movability and box-like shapes. Annabelle came up with four schemes to work in tandem. Hanging rails, metal screens, mobile display units and hinge door displays. They used the same steel aesthetic as the existing Bower extension. Damien and Hermione implemented a more elaborate system that utilised pulleys to hang the artworks and store them in the ceiling space. Lexi had a design that focused on the hanging and interaction with unframed works. The units could hold two 110
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Application
The movable display units could help to partition openplan space in a flexible and changing manner. The relationship between indoors and outdoors is vital. Providing adequate shade will be necessary to avoid overheating exterior spaces.
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Precedent Bowali Visitor Centre
glazing, ironbark floors, earth coloured concrete columns and timber batten screens maintain a natural colour palette and speak to the forest.
Kakadu National Park, NT Mirrar Gundjeihmi Glenn Murcutt & Troppo Architects, 1993 Interpretive Design is by David Lancashire Design.
Two years were spent in consultation with traditional owners and Parks Australia. The park presents both an Gukburleri (Aboriginal) and a Guhbele (non-Aboriginal) perspective. The building was a success on completion and has endured 27 years of use, being awarded National Significance and winning the AIA Enduring Architecture Award in 2018.
The Bowali Visitor Centre is a landscape interpretation centre, responding to landscape and stories of place. It is in Kakadu National Park on the estate of the Mirrar Gundjeihmi clan and is named after the Bowali creek which runs through the area. The primary goal of Glenn Murcutt & Troppo’s work is to interpret place and tell the stories of the land and people, with the assistance of David Lancashire Design. The process of creating, constructing and occupying was collaborative and involved the locals in consultation. The secondary agenda was tourism and education, with an emphasis on informing and orienting visitors to the park and history of the region. The program, siting, materiality and colours should all reflect stories of Place. The building prompts movement around and through with wide verandahs.
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While we aren’t exactly sure how successful this project has been in terms of local use, over tourism, the architecture itself is well considered and successfully connects to the bush and stream. The linearity creates a strong directionality to the buildings experience, but each individual space still embraces its own program in a more central way. Pockets of space are created in this manner, whether they be parts of the balcony or internal rooms.
The building maintains visibility of the park with the central programme of the displays, presentations, craft shop being linked through external linear space. The building is raised slightly above the ground to have less of a footprint on the earth. The use of local materials was important. Rammed earth walls, corrugated steel, 93. 112
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Bilya Koort Boodja
Stories is achieved through a variety of interventions. The culture displays and gallery space were informed by the Creation story of the Rainbow Serpent, Waagyl. The displays are colourful and commentate on the six seasons and Waagyl’s relationship with river and country. The design is an abstract representation of Waagyl, as in the law, Waagyl can only be glimpsed, never seen. A yarning circle holds conversations between generations and vertical timber posts are engraved with the names of Nyoongar people who were dispossessed of their land. Screens in this space show footage of Elders speaking, or other archival images and film.
Northam, WA Nyoongar Ballardong Iredale Pedersen Hook, 2018 Interpretation Design by Thylacine
The Bilya Koort Boodja Centre for Nyoongar Culture and Environmental Knowledge was built to preserve, showcase and educate visitors about the history, culture and environment of Nyoongar Ballardong region. The building is situated in the centre of Northam, where the Avon and Mortlock rivers meet. The building is elevated as the site often floods, allowing for minimum footprint on the earth and better views of the river. The Shire of Northam Aboriginal Advisory Group helped guide the project and make decisions on current operations and developments. Respected members of the Nyoongar community are elected to make these important decisions. This collaboration has ensured that the community space works just as well for locals as it does for visitors. Interpretation design consultants were an important feature to move a community’s ideas and stories into a building and landscape. The dialogue with the community led to the graphic language and materiality of the space. Western Australian materials were used throughout, with Jarrah timbers and Marri red gum seats and bench tops. The building’s aim to educate visitors about the local Aboriginal 114
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Outdoor landscaping was important for connecting the building to the landscape and creating space for leisure and ceremonies. There is a permeable timber batten facade that looks onto the river and creates shelter and shadow for the linear verandah walkway. The street side facade is clad in black zinc to create privacy and an acoustic barrier. The black cladding appears to be quite harsh and generic for a building of this kind. Perhaps a more considered street facade would have created more meaning for people passing by. The balance between privacy and public access is very hard to achieve. The idea of embedding the stories into every detail is very important, and it provides a more subtle approach than literal representation.
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Bunjil Place
Inbetween
Narre Warren Bunurong/Boon Wurrung & Wurundjeri Francis-Jones Morehen Thorp, 2017
Venice Biennale 2020 (Unbuilt) Tristan Wong & Jefa Greenaway
The intent of the Bunjil Place project to become a mega-hub for Aboriginal culture in the area was of good intention, however may have been too ambitious. Mixing a variety of spaces into one building was considered to increase the building’s use. It includes a library, cinema, gallery, service and help point, work space, lecture hall and flexible spaces for exhibition, experiment, debate and future program. However, this dense program results in a large building that is incredibly intimidating.
Inbetween is a pavilion designed for the currently postponed Venice Biennale. It was to be a collaborative contemporary space designed to showcase indigenous art and story. It was to utilise technology to make an interactive exhibition and try to move away from the traditional museumification of indigenous ideas. Tactility and materiality were considered very important, to create a visceral experience, and while the exterior is a simple box, the interior has a variety of textures and a sand floor.
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Reflection It is a shame that this project was never built. It would have been interesting to see how the ideas of museumification and indigenous space were challenged in the pavilion. I’m not sure if changing the floor to sand and the exhibition to digital would really alter the use of the space. It seems that the challenge is in changing visitor perceptions. Perhaps digitalisation could refocus the conversation on the present rather than the mythologised past of ‘hunter gatherers’.
The form of the building was informed by Bunjil the eagle and while an elegant building has resulted, it is still a tokenistic way of form finding that doesn’t fully factor in landscaping and internal program. Reflection A great postcard building, with good intentions, but ultimately is too large and imposing to be successful. Maybe it will be more relevant in years to come. 116
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East Pilbara Arts Centre
Garma Cultural Centre
Newman, WA Martu Officer Woods Architects, 2016
North-East Arnhem Land, NT Gumatj Simon Scally, 2014
The original brief to create a workplace and gallery for the Martumili artists was expanded upon by the architects to create a much larger flexible space suitable for cultural activities Essentially, a large shed creates a flexible outdoor space, with a smaller internal program and water tanks housed underneath. The permeable space is very pragmatic, subtle creating a connection to the landscape, reducing need for air conditioning and allowing for community events. Having the in between space makes the building more inviting and less like a 9-5 centre that would be locked up after closing time. The natural lighting and shadows created from a semi transparent cladding make the space very comfortable.
The Garma Cultural Knowledge Centre is part of the Gulkula Site where the annual Garma Festival is held. The project sets an architectural precedent for two- way knowledge transfer, a Yolngu practice of combining Indigenous customs with Outside mediums to create culturally rich spaces. The building uses a simple material palette and focuses on views to the outdoors and the effects of dappled light created by perforations in cladding. The building is used as a learning space for tourists and a cultural space for locals. The use of multiple entries and exits allows cross ventilation and caters for avoidance strategies.
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Application Just like Kalkaringi, the Garma Cultural Centre needed to be designed for day to day use, while also having to cater for the mass influx of visitors for the annual Garma Festival.
Application The flexibility, openness and pragmatism of this project makes it very appealing. It is simple yet effective. The outdoor space increases capacity, enhances ESD credentials and breaks down the boundaries between the community and the art centre.
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Karijini Visitor Centre
Living Kaurna Cultural Centre
East Pilbara, WA Banyjima John Nichols, 2001
Warriparinga, Adelaide, SA Kaurna Phillips/Pilkington Architects, 2001
The Karijini Visitor Centre was built to educate tourists about Indigenous culture, native flora and fauna, geology and history. It also aimed to employ Traditional Owners and allow interaction between visitors.
The Living Kaurna Cultural Centre is located in the Warriparinga nature reserve in the south of Adelaide. The building was designed for reconciliation between the Kaurna people and the City of Adelaide. It reestablished a wetland by landscaping to help promote knowledge transfer of stories. The site is the starting point of the Tjilbruke Dreaming, with Tjilbruke’s tears creating the springs. Tjilbruke’s Ibis body informs the shape of the building, and actually reduces the connection to the landscape. Nonetheless, it is a popular and frequently used space. The elders commented that consultation was tiring as the facilitators were too ignorant, however found it essential for the success of the end result.
There are three language groups who share the centre, who were all involved in a 6 year consultation period. They were not initially involved but it was clear that consultation was needed to achieve the brief. However, the brief wasn’t strictly followed anyway, and the resultant spaces feel very museum-like.
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The design is another totemic one. The goanna is a shared symbol of the three language groups, so naturally the building had to be a goanna. The building sits well in its context, connecting views to the interiors and using corten steel to appear to rise from the ground.
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Reflection While the building is tokenistic and does not connect well with the views, the overall project is very successful due to the rehabilitation of a past landscape. How can our landscaping for the Kalkaringi Culture Centre help to tell a story? Would the story be about Wave Hill or a spiritual one?
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Uluru-Kata Tjuta Cultural Centre
Fitzroy Crossing Renal Hostel
Uluru-Kata Tjuta National Park, NT Anangu Gregory Burgess, 1995
Fitzroy Crossing, WA Bunuba, Nyigina, Goodiyandi, Walmajari Iredale Pedersen Hook, 2017
The Uluru-Kata Tjuta Cultural Centre underwent a rigorous consultation process and resulted in a beautiful building that uses local materials and is environmentally sustainable. So how did it become a tourist trap that fails to involve the traditional custodians? Lisa Findley’s Building Change explores the centres pitfalls. The main observation is that it tries to solve a series of large problems with a singular building. The building’s purpose is more about tourism than it is about the community who are located 10km away. The budget for the building could have arguable been used to build housing or facilities for the people at Mutitjulu. Another argument is that despite it’s educational intent, it only facilitated more rock climbing and complements the resort more than the people of Mutitjulu.
Fitzroy Crossing Renal Hostel has a main building and a series of residencies for Aboriginal people with ‘end stage renal disease’. The main building is mostly open with coloured panels acting as shading and wind breaks. The wall cladding and roof are both corrugated iron and the structure is a simple concrete slab with steel columns and beams. The joy from this building comes from the coloured screens and the connection to the landscape. Meandering paths and trees throughout the site create a nice space to inhabit. While the building was completed in 2017, by 2018 there were still no occupants due to contracting and water problems. Not all the stakeholders were consulted efficiently and the $17m build lost a year of use due to State Government neglect.
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Reflection
Learning of the poor living conditions in Mutitjulu from Findley and Pilger makes you understand the complexities that Gregory Burgess was designing for. It is clear that for a culture centre to be successful, it must be first and foremost for the local people. I bet the planners regret the placement of the building now that climbing Uluru is banned.
This project is a fantastic example of how simple post and beam architecture can still create an exciting space. The play with light, colour and shadows bring a very ordinary space to life. I hope to play with the same effects through perforated bricks and precast concrete, as well as perforated metal sheet as awnings.
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Krakani Lumi- Wukalina
Edgars Creek House
Mount William, TAS Palawa Taylor and Hinds Architects, 2017
Coburg, VIC Wurundjeri Breathe Architecture, 2020
The Standing Camp, krakani lumi, is an accommodation for walkers taking part in a 4 day walk between wukalina, Mt Willaim and larapuna, Eddystone Point, near the Bay of Fires. Taylor and Hinds Architects did research into the traditional architecture of the Aboriginal people and found themes of domed roofs, central fireplaces, and orientation to the morning sun. The charred timber cladding is juxtaposed to the Tasmanian Oak to create a strong sense of indoors and outdoors. The whole project was lifted onto site by helicopter and was connected to a few footings, keeping the buildings impact on the land to a minimum.
Edgars Creek House is a precedent for materiality and concept rather than programme. The strong connection to landscape and aspect through high ceilings, large openings and generous decks is something I am seeking in my Culture Centre. The use of thin vertical steel and timber in contrast to the heavy rammed earth wall is exactly what I am trying to achieve in my thick Culture Centre walls.
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Reflection
Initially I was considering the connection details between the rammed earth walls and the rest of the building. How do you balance the permanent and heavy to the light and temporary. However, after James’ comments on how rammed earth is often not a sustainable product anymore due to the high amount of added cement, I have chosen to stick to pre cast concrete for longevity and construction speed.
This beautiful project is a fantastic example of a contemporary example of a traditional shelter. The material choices and scale help it to nestle into the landscape. Timber would have been my first choice of material for my Kalkaringi project if it was not for the termites. While steel and concrete are robust and last a long time, I’m not sure if the embodied energy is worth it.
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Australian Age of Dinosaurs Remote Mesa, Winton Koa Cox, 2012
The Australian Age of Dinosaurs Museum exemplifies a strong connection to the landscape, a flat-topped outcrop or mesa. The precast concrete panels that make up the walls were made used to mimic the nearby rock formations. Latex casts were taken of the exposed mesa bedrock and then used to imprint texture onto the concrete, after which red, brown and black oxides were used to dye them. Perforated rusted steel is used as a cladding and for the central tower, with this aesthetic informing the steel door handles and bespoke pendant light shades. Dark floors and deep interiors reduce the glare and keep the building cool in the summer.
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122. Concrete made to look like rocks
123. Tilt-up precast walls
124. Perforated sheets
Reflection The building was completed pro bono for the Elliot Family and was constructed with community involvement, but did not involve collaboration with the Koa people. In 2015, two years after the build, the Koa people applied to the Federal Court for native title recognition. Could this project have been an opportunity to repair relationships between the Winton township and the Koa people? 120. 126
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Application The strong connection to landscape and the grounded nature of the building appeals to me. The precast panels are something that could work in Kalkaringi, however I would prefer to use a more sustainable material such as rammed earth or local Mt Possum bricks. I see strong potential in the deep floor plans playing into my theme of prospect and refuge. They provide a good glare free environment for cultural and historical displays. 127. 128
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MPavilion
Kere Architecture
Melbourne, VIC Wurundjeri Glenn Murcutt, 2019
Gando Primary School and Noomdo Orphanage Burkina Faso
Glenn Murcutt’s MPavilion is a minimal yet complex design. Inspired by aeroplane wings, it creates a simple rectilinear shelter made from metal and aeroplane fabric. The structural elements such as the columns, tensioned wires and beams are all exposed and celebrated. While the pavilion is a rectangle, it feels softer due to the two angles of roof layers and the tapered edges. The ceiling is backed with LED lights that create a lantern effect at night time. The space is flexible and can be interpreted differently by all users. Two storage boxes at either end create a sense enclosure within such an open space.
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These two projects by Kere Architecture both exemplify the use of brickwork and space frame corrugated iron roofs that allow for passive breathing. The Noomdo Orphanage uses a series of separate buildings that are connected by courtyards, with a gradient of privacy and security to help protect sensitive users. The Gando Primary School comprises three separate buildings under a single roof. The bricks were handmade by the community from a mixture of local clay and cement and the floor stones were collected by the children. This building has been a huge success because of the community engagement.
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Reflection Architecture does not need to be visually or programmatically ‘busy’ to be complex. The close attention to details in form and construction can create powerful moments at large and small scales. Staying true to the brief and the core concepts is very important. Murcutt’s concept of prospect and refuge and aeroplane wing aesthetic are the key drivers of his pavilion and are clearly resolved in the final product.
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Application The use of Mt Possum bricks appears to be a very good way to involve the community and create a powerful connection to the landscape and Daguragu buildings. The use of timber louvred windows and narrow openings was Kere Architecture’s alternative to glass windows. This strategy allows for a good play with shadow
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Precedent Themes Experience
Space
Linear
Centralised
External
Undefined
• • •
• •
• • •
• • •
Central corridor (external) with adjacent rooms Prescribed linear progression through spaces Speeds up visitor
Rooms grouped together with gallery at the centre Visitor movement extends from the gallery
Separate Indoor Pavilions Fixed semi outdoor paths Uses the outside to connect the Inside parts
Flexible Blending the In and Out Landscape passes through the space, No boundary
Non-linear
Decentralised
Internal
Central
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Organic walls and varied rooms Less restricted movement
Four separate, varied buildings User determines movement through space
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Frames the Landscape Separation between In and Out Many Entrances
Landscape connects the buildings Building blends into the landscape
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Internal Space
Materiality
Linear
Centralised
• •
• •
Central corridor (external) with adjacent rooms Uninterrupted way-finding
Non-Linear
Decentralised
• • • •
• • •
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Organic walls Less restricted movement Many small spaces Smaller journeys
Natural
Contextual
Contemporary
Rammed Earth
Corten Steel
Zinc/ Aluminium Colours
Timber Boards
Rusted Steel
Corrugated Iron
Timber Battens
Exposed Structure
Polished Concrete
Rooms grouped together Central gallery spaces with rooms surrounding
Four separate, varied buildings User determines movement through space Smaller Journeys
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Consultation Preparation
Family Centre Group Presentation with Quitaysha
Our consultation with Lyndon Ormond-Parker and the previous 6 weeks of research had given us some ideas on how to best approach our consultations with the community. It is important to understand the subtleties of the community and approach the meetings with an understanding of cultural competency.
While the Family Centre brief is very different to the Culture Centre, there are relevant and interesting ideas coming from this group’s consultations. The aim of the family centre is to give families the strength to come together and act as a place healing. Quitaysha’s mother, a Traditional Owner, suggested the tag line “Strong leaders, strong cultures, strong families” to summarise the project.
Presentation
Interconnected Spaces Two or three pavilions, each with their own program can be connected by communal spaces and outdoor walkways. Clear space for men’s and women’s business, but barriers should not be harsh, so there is still a coming together of genders, challenging the status quo but still considering impacts on people’s comfort. Allowing for a sense of ownership over the spaces is important for continual use. There is a need for a few entrances but not so many that monitoring them becomes a worry.
We prepared a series of Powerpoint presentations that explored our key concepts and precedent studies. It was important to select appropriate images that wouldn’t mislead the client. We kept the presentations brief and flexible so that the conversation could move naturally. Questions We structured our questions to be open, avoiding ‘yes’ and ‘no’ answers. The aim was to find ‘nuggets of gold’ through discussing the concepts brought up.
Connections Connection via narrow linking walkways with shaded areas from trees, perforated steel or shade sails is ideal. A main outdoor area with seating (timber on steel works) and BBQ as a focus for bringing the community together.
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Hidden Spaces There is only a certain amount of privacy achievable in such a small community, however privacy is still important. Focus on creating rooms that are safe and protective, rather than isolated. Breakout hide-away outdoor spaces was an idea that was received well by Quitaysha. Interactive Areas Don’t go overboard with interactive areas as it is better to spread them out and allow for use by many. Low skill work such as landscaping and planting can be an employment opportunity.
Reflection The information coming from the consultation process is incredibly important, however it is good to understand that the consultee will have to process the information to give more in depth feedback. A more interactive presentation that poses questions, theory and live drawing seems to be more successful in conveying intent.
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Consultation with Phil
Consultation with Penny
Social Club Group Presentation with Rob Roy
Phil likes the decentralised arrangement for the culture centre. He agrees that external spaces and a main central external space would work well to connect separate pavilion or modular organic buildings. The outdoor areas should be shaded much like the previous Bower works, but also have areas in the sun. The view to the north is not very important, being mostly houses, however the view to the south is of the hills. Phil prefers the contextual aesthetic but also feels a bit of bling would be great for the new culture centre.
It was great to talk to Penny and receive her initial feedback on the concepts we have been exploring. She thought that the non-linear and decentralised plans were more in keeping with the community’s vision. She suggested that curved forms would be appealing as much of the existing buildings are sharp and angular, however the plans that were shown to her were rather misleading. The softest precedent, Bowali, looked very straight in plan, while the sharpest precedent, Karijini, looked very curvy and pleasant in plan. Penny said the Lea and Roz had even mentioned the building could resemble a turtle. It was clear that a strong connection to outdoor spaces and sight lines is important. These outdoor spaces provide flexibility and increase the buildings capacity for events and visiting groups. The internal spaces will have to cater for the same initial brief we received, as well as some points that have been refined through this consultation. It was great to learn how the garden space is intended to be used for bush medicine and will act as an inspiration for artists as well as an educational tool. Penny seemed open to all the material suggestions, but had concerns of timber due to termites and sourcing, as well as steel because of the heat. Apparently Mt Possum soil was once used to make red bricks. It would be interesting to explore this further. The idea of having coloured materials, or artworks as part of the
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building excited Penny. She sees opportunity for the youth to have input on the artworks and colours chosen.
Reflection
The Social Club extension aims to make the club more accessible for families and children while remaining a popular destination for the usual suspects. Rob Roy is heavily invested in the social club and is very excited for the renovations. The Gurindji Aboriginal Corporation recently got ownership of the club back and have the funding to make changes.
The precedents all provided interesting insight, but none of them were entirely successful. This is exciting because the community doesn’t want to copy any previous designs, hoping to create a new building that speaks to the Gurindji story.
The main hurdle for the design process is the division of the drinking and non drinking space. You do not want to isolate the drinkers, or exclude the families from the activities. The brief is to make the social club a place for dinner, live music, basket ball, and a few drinks. Rob Roy described the project as 'the beautification the club.
Application
Consultation with Rob Roy
The consideration of graphic presentation is a very important aspect of successful consultation. The floor plans can mislead the client if not interpreted as intended. It seems schematic sketches, models and collages may be the best approach. The use of local plants, soil, people and art will also make the drawings more relevant and stimulating.
Our consultation with Double R was very brief due to his personal commitments. However in our quick chat we received some really key ideas to consider. He wanted the Culture Centre to focus on the Wave Hill Walk-Off story, Dreaming stories, and cultural knowledge and ideas such as skin names and kinship.
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Consultation with Dr Lyndon Ormond-Parker Dr Lyndon Ormond-Parker is a Research Fellow in the Indigenous Studies Unit at the Melbourne School of Population and Global Health. He was born in Darwin and is of Alyawarr decent from the Barkly tablelands region. He is currently a member of the Australian Heritage Council and is a principal adviser to the Government on heritage matters. He is experienced in advocacy, policy development, research, negotiations, cultural heritage, materials conservation and repatriation. We were meant to meet Lyndon in week 2, as part of our cultural competency class. Catching up with him at this later date was probably more valuable because we could focus our questions on the Culture Centre. Remember
•
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Language: Use terms Aboriginal, Aboriginal peoples or Aboriginal and Torres Strait Islanders. The terms Indigenous and First Nations are used for international conversations and documents. First Nations People has Canadian connotations. Remember avoidance strategies and kinship and moiety structure Seeing photographs and imagery of dead people is less of an issue than it was in the past. People no longer see photographs as an embodiment of spirit. Electricity costs can be very high in these types of buildings,
Material Consultation with James
• •
and is usually paid in a pay as you go system. Consider using solar panels, as well as a rainwater tank. Collaboration and community consultation must be ongoing Consider ceremony, ancestors and story telling.
Planning
• • • • • •
Consider distancing male and female bathrooms. Consider a lockable carport or garage for staff vehicles Consider where kids might be encouraged to go and where they should stay away from. Mixed use programs offer diversity in users and more chance of uptake. Consider art, dance, music, storytelling, language, culture and history. Plants are important for bush medicine and shade Space for artefacts as repatriation becomes more common
Consider
• •
Picnic tables and signage could be used out the front of the building to provide information to visitors. “Ceiling fans are a must." Successful Centres
• • •
Buku-Larrnggay Mulka Centre Waringarri Aboriginal Arts Jilamara Arts
Floor
• • • •
Concrete slab- mix with red soil Gordy Creek Sandstone Jinparrak stones Modwood deck
• • • •
Glass- use acrylic or shutters Timber-termites will eat MDF- toxic glues may be affected by heat Plasterboard- easily damaged
Wall
• • • • • • • • • •
Steel for structure Corten Corrugated iron- second hand has nice rusting Polycarbonate Rammed Earth Modwood Gabion wall Mt Possum bricks Cement blocks- render or paint with mural Precast concrete-imprint patterns
Roof
• •
Corrugated Iron Perforated metal and weld mesh
Interior
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Plywood Compressed cement sheet
Reflection It is a shame that we did not get to speak to Rob Roy more, however the time we did have was valuable. The consultation with Lyndon provided the best information for culture centres and cultural competency in general. He has such a good knowledge of the different communities across the country. I followed up the consultation with Lyndon by attending the Asialink First Nations’ Asia Engagement webinar that he spoke at. The talk was incredibly interesting, exploring the Northern Territory and Queensland's connections to Makassan traders hundreds of years before British invasion and the subsequent White Australia Policy that banned future trade between these parties. They would trade trepang, sea cucumbers, and other goods. There is evidence of Chinese contact from the 16th century, evidenced by pottery found in north Queensland. The upcoming documentary Before 1770 by Abu Hanifa is going to explore these ideas more.
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Initial Brief The Kalkaringi community requires the design of a culture centre. First and foremost, the culture centre should provide spaces for the community to use and engage with. It should be a place where Gurindji culture is celebrated and cultural knowledge is passed down from generation to generation. Secondly, the culture centre should contribute to tourism and the economy through the display and sale of local art, sharing the Gurindji story, and potentially facilitating communication between tourists and Gurindji peoples. Programme Key spaces to consider in the building’s programme include: • • • • • • • • • • • • • •
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Information/tourist space/books and art sales Gurindji and Walk-Off history Language Youth Outdoor cinema / Media space Private culture space, ceremony, artefacts Painting gallery (permanent and temporary collection) Workshop space, painting and other arts in future? Archived photos, video, audio and artefacts Kitchenette/cafe Talking spaces Casual spaces Toilets and amenities Storage
Kalkaringi
DEGURAGU APPROX. 7KM
Themes Some themes to explore in the design include: • • • • •
Indoor-outdoor relationships Avoidance Strategies Flexibility Economic/prefabrication Materiality and robustness
FUTURE HOUSING
FAMILY CENTRE
OVAL
SOCIAL CLUB
Considerations Other aspects to consider include: • • • • • • • • • •
FUTURE COMMERCIAL USE
SCHOOL
Wind Dust Passive cooling Flooding Sun Durability; timber treatment, steel rust Minimise labour Landscaping Pavilions Gambling
OVAL
CULTURE CENTRE
PARK
CARAVAN PARK
HWAY
NE HIG
BUNTI
STORE VICTORIA RIVER
COMMUNITY CENTRE KARUNGKARNI ARTS
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KATHERINE APPROX. 480KM
HALLS CREEK APPROX. 410KM
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Context Context & Building Typologies Wave Hill Station
Public Space
Karungkarni Arts Centre
Demountable Building
Elevated Building
Mural Building
Series of rusted old steel frames from old pastoral station buildings.
Large open shed covering basketball court. Portal frame with all columns on outside edge.
A steel framed building with corrugated iron cladding. Louvres window screen.
Demountable building with a canopy roof over the top to create carport and balcony awning.
Building elevated on steel frame with a rear and front entry.
Brick building with steel columns and metal roof.
Solar hot water and a simple metal wire fence.
High windows letting in light and potentially creating stack ventilation. Fly screens protecting glass.
Simple post and beam with triangulated bracing.
Steel swings, steel fences, steel flood lights.
Remnants of corrugated iron roofing.
Steel water-tower structure, triangulated truss like tower.
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Concrete block shed, painted to jazz up. Bower Studio extension with steel structure, weld mesh and perforated metal.
Glass windows with fly screens allow for an air-conditioned interior. Micro-climate created by building shadow, allowing grass to grow.
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Design
Mesh screening for shading and privacy.
Community engagement through mural artwork. Transforms ordinary wall into an interesting once.
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Landscaping Corrugated Iron House
Concrete Block House
Brick House
The Ground Plain
Bush Medicine and Food
Corrugated iron house with lean to mesh shaded area.
Concrete blocks painted green on a concrete slab.
Brick house with hipped roof of corrugated iron.
Gable roof with awning over windows.
Corrugated iron roof with steel columns supporting awning over outdoor space.
Timber roof substructure showing signs of weathering from sun and water damage.
Louvred windows and aluminium flyscreens.
Potentially an office due to two air-conditioners and satellites.
A building must be integrated onto it’s site in order to be successful. Orientation, materiality, vegetation, level change and shade are key factors to creating an interesting landscape. The Culture Centre will ensure that all pavilions have clear views towards the Hills that are so important to the Karungkarni story. While the site is mostly dirt and grass, I hope to connect the concrete slabs to the landscape with the use of different local soils and sandstones from nearby. The red soil from Jinparrak that is heavy in iron will also create a nice feature.
The landscaping needs to incorporate a variety of native plants that can provide shade, bush medicine or food. The shade from the buildings, walls and perforated screens should make small micro climates that allow some of the sensitive plants to grow happily. The plants will act as story telling devices and allow for the cultural custodians to pass their knowledge of bush medicine to the next generation. Hopefully a biodiversity selection of plants will also attract birds and other wildlife, rather than the usual horses.
Additional cloth attached for extra privacy from street.
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Grinding Seed
Nambula
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Parnat
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Kinjirrka-Red Flowered Kurrajong
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Kilipi- Bush Banana
The tree of the Walk-Off meetings
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Grub inside insect gall can be eaten
Partiki
Edible seeds, cosmetic use
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Kurtakarla- Bush Coconut
Flesh and skin are eaten
Small white scale insect coverings
Bush Tea
Ngamanpurru Dreaming
Kalngi-Bush Tomato
Nanyjarrnga- Sugar Leaf
Fruit and Medicine
Ngamanpurru- Conkerberry
Emu Berry
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Kurlartarti- Bush Orange
Ground to make flour
Fruit and leaves edible
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Refined Brief Consultation with Phil and Penny has helped us to refine the brief. The decentralised non-linear plans resounded strongly and materiality seems to be quite flexible at this point. Ideas of flexibility, outdoors and softer forms have been a common talking point.
Programme Relationship Diagram
Removed •
Workshop space, painting and other arts in future?
Additional • • • • • • •
Garden with medicinal native plants Recording studio Potential space for dance and music Curved walls for softness Straight walls for larger paintings (2m x 13) General Admin Reference Area
Considerations • •
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Termites Heat of metal in sun
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Site Analysis Site Analysis
Sun Path
DAGURAGU APPROX. 7KM
Wind Rose
CEMETERY
FAMILY CENTRE
OVAL SOCIAL CLUB
SCHOOL
CULTURE CENTRE PARK GHWAY
INE HI
CARAVAN PARK
CHURCH STORE
BUNT
KATHERINE APPROX. 480KM
FLOOD LINE
VIEW OF HILLS
COMMUNITY CENTRE
PREVAILING WIND
KARUNGKARNI ARTS SCALE: 1:2000 A3
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0
40
120m
N
HALLS CREEK APPROX. 410KM
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Concept Design Programme Relationship Diagram
Site Access
Decentralised Three separate buildings. 1. Gurindji Building For the local people to learn, teach, and share culture and history. Linear
2. Visitor Building For visitors and school groups to learn the Gurindji story and culture.
Axial
Converging
3. Exhibition Building For the display of works by Karungkarni Arts, films, images and the hosting of events. Each connected by outdoor areas for sitting, conversation, story telling, teaching and everyday activities. A native bush medicine garden and outdoor cinema space are essential to the brief. Parallel 156
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Roof Form
Concept Plan
Curved
Awning
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Skillion
Murcutt
Gable
Ventilation
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Sketch Model The sketch model was the first opportunity to explore the buildings form and materiality. I created a strong contrast between the thick balsa wall and the thin paper roof. The purpose of the wall is to ground the building to the site, while the thin roof and columns conversely appear to be lightly touching it, or even floating above. There is a strong sense of directionality, as the roof lifts towards the view, protecting from the harsh sun. The chicken wire stays horizontal and provides continual dappled shade.
Reflection Beginning to link the briefs programme and draw relationship between the proposed spaces has been enlightening. It is the first moment where ideas for a design have really begun to bubble away. It draws many questions. Importantly, how do you balance the tourist use with the everyday community use? How do you ensure positive uptake and continual use? Further consultation with Double R and Penny should hopefully paint a more clear picture of what stories, activities and design moves are most important to the community. 160
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Reflection Producing a sketch model has really helped to inform my design ideas and aesthetic. It was a very easy way to explore ideas and rationalise the complex layers of information communicated through the consultation process. Traditionally, I have always worked from plan, finalising the form at the end. Now I see the value in exploring a basic sketch model, especially for ideas of scale, materiality, light and shadow and mass. Application The initial sketches I produced did not exemplify the same ideas or aesthetic explored in my concept diagrams or models. When I sketch I get caught up in practicing my technique and perspective and lose sight of my actual design. For future sketches, I need to make sure the drawings speak to Kalkaringi, including trees, people, materiality and architecture. While I love empty black and white sketches, it seems the colour and entourage have a very powerful way of highlighting ideas and making the drawing more relatable for consultation.
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Prospect & Refuge
Decentralised and Staged
View of hills and sense of connection to place.
Strong connection to outdoors. Separation of programme. Community involvement.
The idea of prospect and refuge is a psychological phenomenon used in landscape design and architecture. Frank Lloyd Wright and Glenn Murcutt are two prominent architects that pioneered the use in buildings.
Consultation with the community made us realise that a large centralised building was not what appropriate for the brief. The design needed to connect to the outside, allow for avoidance strategies and become home to a large and potentially expanding program.
The theory is that humans will always seek to feel safe, secure and comfortable.
A decentralised complex made up of a series of smaller building and pavilions seemed to be an appropriate strategy. These can be
When outside, people will seek to find refuge and shelter. A place to observe, or a vantage point.
1.
connected by paths, balconies or covered walkways. The beauty of the decentralised plan is that each building works independently, so the opportunity for a staged construction is available. Each part of the program could be build as needed and then added to over time.
2.
3.
From refuge, one looks out onto the view and is inspired to explore the prospect. I hope to use this duality on my site to create a strong connection that draws users to the buildings and into the landscape. The refuge also helps as a planning device, helping to figure out where secure space and internal rooms shall be oriented.
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Indoor, Outdoor & Inbetween Connection to place. Flexible spaces. Security, practicality, shade and ventilation.
The concept of indoor outdoor and inbetween complements the prospect and refuge concept, creates a nested refuge situation, with security and safety increased further indoors. The outdoors programme is free and flexible, becoming more and more specialised as you head indoors. The most enclosed spaces are for the most sacred artefacts and art. The areas are subtly zones through materiality, perforation, access and enclosure.
Application Using thicker lines and colours will help me to communicate my concepts more clearly. The thick rammed earth walls in the prospect and refuge diagrams could be wide enough to allow for nooks that could house shelves, storage, toilets, or fold away doors.
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1:20 Model The 1:20 model was an opportunity to refine my last model and integrate my concepts more coherently. Playing with the light to create a dynamic space was really important in our brief. Here, I experimented with paper and mesh to test what kind of shadows a perforated brick wall and awning may do throughout the day. Having vertical and horizontal perforated elements was a success, as morning and afternoon sun would off soft long shadows, and midday sun would create strong shadows.
Reflection Producing a 1:20 model and then sketching a perspective from that model really helped me maintain a connection between the two exercises and better portray my ideas. It is often difficult to gauge how much detail is needed from each drawing, with some feedback suggesting that the building is too defined, and other feedback requesting a resolution of material connection. Models such as these always remind you of how much construction knowledge you have actually managed to retain. Constant referencing of installation manuals and manufacturers details will always be necessary. 168
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Site Focus towards hills and the creation of an internal courtyard.
Prospect and Refuge
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Central Focus
Journey
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Introspection
Openness & Security
Passive Cooling
The individual buildings focus out into the hills, while the complex as a whole orients inwards to create a protected courtyard. The gallery shelters from the prevailing winds and the admin building shades from the northern sun.
The zoning of the space following the indoor, outdoor and inbetween concept forms four distinct zones. The outdoors- in the gardens and landscape The undercover- under the perforated shade The inbetween- under the roof, inside perforated walls The indoors- in a conventional indoor, air-conditioned space
Louvres
Cross Ventilation
Roller Door
Pavilion
The inner garden has the potential to thrive.
Inbetween
Indoor/AC
Undercover
Outdoor
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Reflection
Structure and Shade
Walls and Shade
Steel to mimic tree branches.
Perforated bricks can provide shade through the day and patterned light during the morning and afternoon.
Perforated steel and bricks to mimic leaves, providing dappled light that dynamically shifts though the day. CHS are more playful as children are inclined to hold an spin around making themselves dizzy. UB and SHS provide a good surface to paint on.
Glazing is an impractical option for Kalkaringi. Other ways to seal a room, while allowing light in include glass blocks, glass bricks, polycarbonate sheet, perspex, recycled bottles, resin based designs or operable shutters that seal closed.
It has become very clear to me this semester that concepts are not just post rationalised ideas that add complexity to a design, but are actually a set of rules that help to inform all design decisions. They stop rogue, incongruous design moves and keep the foundations of a design on track. In the past I had used ideas of circulation, zoning, public private and green space as concepts, but now I see that they are tools for the analysis of space. The concept’s role is to inform and guide. The Wave Hill walk off is the story that needs to be told through
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the culture centre. The stories of dreaming, land and contemporary Gurindji life are also essential. The stories need to be present in the program, the architecture, the paths, aspect and materiality. The idea of prospect and refuge can inform the zoning of space, views and access to the sun and landscape. The idea of indoor and outdoor space can address issues of security, shade and the flexibility of the program. Ultimately, do the concepts set the rules to help me design and do they express the clients brief.
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Design Development Iteration 1 Iteration 1 develops my concepts into a more resolved floor plan.
Circulation U RAG GU DA
I created three distinct buildings. The visitor building, the art gallery and the community building. The buildings are all mostly open, with lockable space towards the back walls. The tourist building acts as an initiation before reaching the gallery and community building. It has continually open history displays, and open hours cultural displays. A store and education space. The gallery has more walls than the other buildings and is completely enclosed at night. This is to secure the art and increase the wall surface area for hanging paintings. The gallery walls extend out of the building, reaching into the landscape.
TINE
BUN
HWAY
HIG
Key Moments
The community building has a dense and intimate program. It houses the admin, film and image archive and sacred artefacts. There is a recording space for recording language, stories and music. The end of the community building features a small kiosk with a kitchenette for coffee and tea. A BBQ area is opposite this kiosk, and allows for cooking to be done when it is film night on the outdoor cinema wall.
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Iteration 2 Iteration 2 transforms the last plan into a more linear one, focusing on the Walk-Off story and making the garden and fire place the centre piece of the site. The only internal spaces here are in the central culture building. This removes the need for several keys and emphasises the outdoor lifestyle. The new arrangement of the building focuses strongly on the Karungkarni Hills.
Circulation
David commented that the curved slab was not well justified through symmetry, as a classical approach to the building was too disconnected to Kalkaringi. Reflection Splitting into smaller groups has allowed us to discuss our designs in detail for the first time. David provided feedback that the brief provided to us by Penny may not be a practical one and that we should design for a more simplified version. While many of our precedents and consultations were pointing towards a decentralised plan, with a central courtyard, it has become clear that this is not the best solution for our brief and site. However, moving to a more linear master plan does not mean that decentralisation and courtyard spaces are unachievable. Exploring how the pavilions can express the Wave Hill walk off story will help to inform a stronger architectural narrative. Reducing the number of lockable and air conditioned pavilions is a good way to increase security and practicality and reduce construction costs. 178
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Journey Concept Refined
Site Circulation
Lockable Space
Steel Members
David made it clear to use that the Wave Hill Walk-Off is really the central idea to the Culture Centre.
My earlier site analysis established three main axis for the site. The main path through the site is from the town shop, Karungkarni arts, the community hub and the caravan park, up to the Warnkurr Social Club. The Family Centre and school to river axis and the Walk-Off Route axis. These are not physical, but have been fabricated to inform the designs placement on the site.
The strong thick wall at the back of the building can be emphasised by including the lockable secure storage spaces and amenities.
A select kit of parts will be chosen to make up the components of my build. The aim is to have the bare minimum walls and expose the structure to allow for dark shadows from the ‘branches’ and light shadows from the ‘leaves’.
I decided to analyse the Walk-Off route and create a story and journey through the site that could be used to retell and experience the Walk-Off.
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This allows for everything to be locked up safely at close, while still allowing occupants to use the rest of the space after hours.
Design
The off cuts and left overs from the build will be used to make insitu furniture and landscaping, much like our Bower Project for 2020.
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Iteration 3 Iteration 3 stripped back the unnecessary, unjustified curves and moments from the last plan. It tightens the design by applying a three axis grid of 7.4m. The grid provides a sense of harmony and intention, while still keeping the planning spread out across the landscape in a seemingly ‘random’ manner.
Circulation
The axis are derived from my three observations of the town. The Walk-Off axis informed the orientation of the floor slabs and walls. The Kalkaringi/Social club axis oriented the circulation through the site. The Family/River axis orients the roof lines, creating a directionally and dynamism to the site, hinting the vistor to enter and move through. Key Moments
Application Our final meeting with Rachel and Jorja from Arup was really important to help finalise the structural details of my design. Overall, they were happy with my structure, the sizing of steel members and the use of load bearing precast concrete walls. They suggested that I either thicken my main building’s beams to 600UB’s, or add one more row of columns to reduce the span. It was great to hear that the beams could be tapered at the ends and that my T-sections were a viable structural option, despite their purpose being fully aesthetic. 182
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Moving to Digital Design
Isometric Sketch
I spent a few weeks contemplating whether I should take this opportunity to practice my hand drawings and do a completely drawn final design. However, given my poor access to scanners and level of clarity I wanted to achieve, I opted to move all my work onto the computer. Modelling the design moved my thinking from conceptual to pragmatic instantly, with steel members, their connections and the dimensions of spaces become much more important.
Reflection Week twelve marked the end of official classes and marked my transition from hand drawn concept design to computer based drawings. A weekend of drafting up the 3D model and rendering out some perspectives to collage reminded me of how much I dislike computers, and in a way I kept second guessing the decision to switch mediums. Computer drawings should allow me to convey my ideas more clearly and help me see the project in a different light.
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Gurindji Culture Centre
R PA NG KI
Gurindji Culture Centre
Site Plan R PA AL
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The Culture Centre is first and foremost a place for the Gurindji people. The historical pavilions, artefact storage, film and image archive and cultural space provide a platform for the older people to pass their stories down to the next generation. Native plants populate the landscape and also facilitate the continuation of traditional medicines and foods. These plants, as well as the connection to the views allow for stories such as Karungkarni or Ngamanpurru to be told. The ground surfaces of the landscape are also key. A selection of sandstone, dirt, iron and stones from Jinparrak, Junani Gordy Creek, Middle Camp and Daguragu act as mnemonic devices for Yamba and Rob Roy to tell the Wave Hill Walk-Off Story. Pragmatically, the building also creates a huge amount of shade, with the roofs angled to maximise the shade at midday and afternoon. These pleasant spaces allow for gatherings, painting and contemplation.
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cultural ‘Dreaming’ and pre invasion stories are explored. Crossing the road, the journey takes the visitor through three historical pavilions that outlines the Walk-Off and the road to the present. The ground plane has been changing, offering different stones, concrete and textures, forcing the visitor to watch their step and be contemplative. The visitor then passes through a dense section of bush plants where the gutter drains to resemble Gordy Creek or Wattie Creek, before reaching the Cultural pavilion where they can explore the film and image archive, browse the artworks and books, and potentially meet with community members.
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The Gurindji Culture Centre is to become the heart of the Kalkaringi and Daguragu communities. It is situated in a significant position at the intersection of the Buntine Highway and Daguragu Road.
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The Culture Centre is also a place for visitors to learn the Wave Hill Walk-Off Story and to learn about Gurindji Culture and art. The site for a Gurindji person feels centred around the main culture building, but for a visitor, a journey through the site must be taken. This journey starts from an initial pavilion where the
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The Walk-Off journey has been superimposed onto the site. The main path through site between the town and the Warnkurr Social Club signifies the day to day journey. With the paths to and from symbolising Vincent’s trip to Sydney, or the arrival of friends such as Penny and Phil.
From refuge, one seeks to explore prospect. From prospect one seeks to find refuge. This duality has been employed on site to SHADED create a connection that draws users to the buildings and into the landscape. The refuge is a secure space, the prospect OUTDOORS incites movement and journey.
Cultural, Historical and Contemporary.
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The site must tell the story of the Walk-Off through mnemonic devices such as specific landscaping and building orientation. Soils, sandstones, plants and rusted metals from Jinparrak, Junani, Middle Camp, Wattie Creek and Karungkarni Hill will decorate the site.
The concept of indoor outdoor and inbetween creates a nested refuge situation, with security and safety increased further indoors. The outdoors programme is free and flexible, becoming more and more specialised as you head indoors. The most enclosed spaces are for the most sacred artefacts and art.
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Floor Plan
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Presentation Transcript Hi, I’m Andrew and I will be presenting my design for the Gurindji Culture Centre. My design is based around the Wave Hill Walk-Off story. Following the events from Jinparrak through Junani, the Victoria River, Bottom Camp, and the settlement at Wattie Creek. I superimposed this journey onto the site, and overlaid the contemporary journeys taken by locals and visitors. The main path through the site is between Kalkaringi and the Social Club. The paths leading to and from the main route symbolise events such as Lingiari’s visit to Sydney to speak to the politicians, and people like Penny and Phil coming to work with Gurindji Corp and Karungkarni Arts. The idea of prospect and refuge played heavily into my design. Prospect of the hills and the passers by, and refuge from the harsh sun and protection of artefacts. The ideas work in tandem to create a successful indoor outdoor relationship, as people in the refuge of the buildings are drawn into the landscape, and people out in the landscape seek to find shelter from the heat. As a visitor, when you arrive at the site you will begin at the first pavilion, where pre colonial stories will be told, using the Karung-
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karni Hills as a stimulus. The ground will be covered in red, iron filled, soil from Jinparrak, and rusted metals from the old pastoral station, for Yamba or Rob Roy to use as storytelling devices. Here you begin to learn of the terrible living conditions of the Gurindji people under the Vestey’s, that led to the Wave Hill Walk-Off. Starting your own journey, you must cross the road before coming to the history pavilions.
munity has recently collected some Kilipi-bush banana, kurtakala-bush coconut and bush tomato in a kawarla or coolamon. The culture building is a place for the community to work creatively, teach their language and traditional knowledge and hangout. The dappled shade created by the weld mesh and perforated metal roof has made the seats around the fire the contemporary ‘partiki tree’ meeting place.
A steel structure and thin corrugated roof, mimicking that of a eucalyptus tree, covers perforated metal display stands that depict the Walk-Off story. These displays tell of the hardship endured by those such as Lingiari and the stolen generations, the famous sand pour and the politics leading to the present day. On your journey between the pavilions you are made to contemplate, and be present, as the path changes from the main sandstone path into Gordy Creek stones and then concrete steppers. The information on these can be explored individually, but also guided by a local.
Moving into the culture building you can see that the roof is angled to exaggerate the prospect of the Karungkarni hills. Perforated Mt Possum brickwork divides the spaces and the perforated metal roof above the ramp creates playful shadows throughout the day.
After completing an ‘initiation’ through the history pavilions, you arrive at the Junani and desert gardens. The water of Gordy creek, Wattie Creek and Victoria River are central to the community’s identity. The water from the culture building’s roof runs directly into these gardens, irrigating the plants to create a wet season and dry season bush medicine and bush tucker garden. You can see that the com-
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In plan you can see the space is mostly open, emphasising the connection to the gardens and views. The outdoor space and walkway are shaded in dappled light. The multipurpose space and artists workshop are in the strong shadow cast by the deep roof that meets a precast concrete wall, forming the cool backbone of the building, and datum for the fixed programme. The artists have access to their own lockers and a sink that can be used whenever they need. There is a lockable kitchenette with basic appliances for the community to make coffee, tea and snacks. The art gallery is in an inbetween zone that is open, but lockable, with roller doors securing the area at close. The admin, film projector, image archive and cultural artefacts are
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all within the interior space that can be air conditioned or naturally ventilated through clerestory windows. This space protects the most important objects, and provides the maximum refuge. Movable art display units developed for our design esquisse can be taken out of their storage and wheeled throughout the building. They increase the display capacity of the gallery and also help to divide space in the multipurpose area. The gallery is cool and shaded and offers the opportunity to browse artworks and even meet some artists and Penny. Here you will be able to find books that explore the history and culture in more depth, and you may even learn some Gurindji words. Finishing your journey, Double R may catch you at the social pavilion and ask for you to visit the newly renovated Warnkurr Social Club, where he will show off the sporting prowess of Kalkaringi, or you may be invited to meet some artists working on a new painting. Small pavilions such as this are scattered throughout the site, providing a place for individual work, conversations or contemplation. They can be used by a group or occupied by an individual seeking privacy to work quietly. Nearby native plants and the views provide immediate inspiration for new art. The seats are made from offcuts of the main building materials and are finished with a recycled timber or modwood top for comfort. The dappled shade
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Karungkarni Gallery from the perforated bricks makes these a comfortable space to be. Smaller walls across the site double as seats and guiding markers. The shade from the walls, pavilions, trees and weld mesh fences aim to create micro-climates from which smaller plants may grow. The large area to the north of the site has been allocated for future Freedom Day Festival activities, and a stage facilitates an outdoor cinema and live music performances.
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The idea is that the language of the site can be spread across the town, connecting the Gurindji heritage, language and Walk-Off story to the new Family Centre and Community Centre, the Warnkurr Social Club extension, Karungkarni Arts and Daguragu.
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This overall plan can be staged in construction and added to continuously. The process aims to use local landscaping materials and native plants and involve the community during each stage of the build. A balance between the indoors and outdoors allows for storytelling and the continuation of traditional practices in conjunction with future enterprise. Thank you.
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Conclusion Bower Studio has been really interesting and rewarding. It is one of the first studios where the content is so specific and pragmatic. It has been a good way to start Masters, giving me a good idea of the type of work required, especially for this booklet. The process of researching and reading a broad range of medium and then consulting a community was incredibly beneficial to the design process. It gave the building life and purpose. It was a privilege to be able to consult with Rob Roy, Quitaysha, Penny and Phil.
Culture Centre While we did not get to travel to Kalkaringi due to the COVID-19 lockdown, I am still hoping to visit one day to experience the Freedom Day Festival or help out with another Bower project. Finishing this subject has left me with just as many questions as when I started, but I feel much more comfortable and culturally competent than when I began. In the future I would love to study about the Makassan and Yolngu connections, and discover my place in Australia as an Indonesian.
My final design for the Gurindji Culture Centre features a series of pavilions that enable the story of the Wave Hill Walk-Off to be told, but also celebrates the contemporary lifestyle of the community. The separation of the program into flexible open pavilions allows for an outdoors lifestyle and creates a stronger connection to country without the need for extra walls, security and materials. The beauty of the simple construction is that it can be taught and replicated across the town, connecting the site to place with a series of public amenities. The pavilions will become a space for creativity, education, tourism, and preservation of language and culture. The spaces can grow with overtime, and hopefully the demand to keep language and culture alive grows with future generations.
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Reference List
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Acknowledgements
I wish to acknowledge the Traditional Owners of the land on which I prepared this work, the Wurundjeri people, and I pay my respects to Elders, past, present and emerging. While we did not get to travel to Kalkaringi this semester, I would like to thank the Kalkaringi community for the invitation and their constant support and feedback. Despite the difficulties of moving online, we still gained so much insight from consultation and collaboration with Rob Roy, Quitaysha Thompson, Penny Smith (Karungkarni Arts) and Phil Smith (Gurindji Corp.). I would like to thank Dr David O’Brien, George Stavrias and James Neil for the opportunity to participate in Bower Studio and their guidance and leadership throughout the subject. Thanks Alexia, Bronte, Caleb, Damien, Gaby, Hermione, Leif, Sarah, Shalini and especially Annabelle and Emma for your mentorship. It wouldn’t be studio without your peers.
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BOWER STUDIO 2020 KALKARINGI ANDREW MACKINNON